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SCIENCE AND ART 

—OF— 

ELOCUTION. 

Also Containing Lectures on the Essential Qualifications 

of an Orator and Methods of Teaching Oratory 

and Elocution Used with the Demostheno- 

Websterian Oratorical College 

Class of the V.N.&C.L 

—BY-/ 

PROFESSOR DANIEL BARCLAY WILLIAMS, A, M. Ph. 0,, 

Dean of the College Department, Professor of Ancient Languages, 
and Instructor in Pedagogy and Oratory in the V. N. & C. I. 

%£' ALSO 

Author of "Outlines of School Management,'' "Freedom and 
Progress," "Science, Art, and Methods of Teaching," etc., etc. 

WITH EXTRACTS FROM SKETCHES 

Written by Robert W. Whiting, John Mitchell, Jr., Prof 
D. W. Davis, I. G. Penn, and Robert G. Qferfst^i 

FIBST EDITION", 



PETERSBURG, VA. 
DANIEL B. WILLIAMS, PUBLISHER, 

1894. 







Entered according to act of Congress, in the year 189i, by Professor" 

Daniel B. Williams, in the office of the Librarian of Congress 

at Washington. 



The Mitchell Manufacturing Co., 

Printers and Book Binders, 

Petersburg, Va. 



PREFACE. 



This work was published at the solicitation of a 
number of students and friends with the intention 
of placing a useful hand-book in the reach of edu- 
cators, readers, and speakers. It is sent forth after 
an experience of fourteen years as a public speaker 
and writer and nine years as an instructor in elo- 
cution and oraton\ I feel confident that it will be 
found satisfactory for any class studying the princi- 
ples and methods of elocution. 

The lecture on "The Essential Qualifications of 
an Orator 1 ' is added for the purpose of aiding in- 
structors in oratory and those who desire to perfect 
themselves as pleasing and effective speakers. I 
found that the principles discussed in it were highly 
serviceable to the young men of the college oratorical 
class. The seventh lecture explains somewhat in 
detail my methods for instructing and training 
young men in oratory. I am convinced that they 
may be used with profit by almost any teacher of 
the art, 

With sincere thanks to my Heavenly Father for 
time, opportunity, and means for its publication, 
I send it forth to a generous public, hoping that it 
will aid in the grand cause of Christian Education. 



-^-CONTENTS. 



Page 
Introduction — Extracts from Sketches, ... 5 

LECTUKE I. 

The Science and Art of Elocution, .... 13 

LECTURE II. 
Yocal Culture, 16 

LECTURE III. 
Articulation, 19 

LECTURE IV. 

Expression, 25 

LECTURE V. 
Gesture, 47 

LECTURE VI. 
The Essential Qualifications of an Orator, , . 55 

LECTURE VII. 
Methods of Teaching Oratory and Elocution 
Used with the Demostheno-Websterian Ora- 
torical College Class of the V. N. and O I., . 70 

LECTURE VIII. 

Some Subjects with Their Outlines, .... 77 



INTRODUCTION, 



EXTRACTS FROM SKETCHES 

OF THE 

LIFE OF PROF. DANIEL B. WILLIAMS, A. M„ Ph. D. 



"Kind-hearted, affable, able, Professor Williams is a man 
among men." — John Mitchell, Jr. 

"Professor Williams possesses an harmonic mind, and is a 
conqueror in all the fields of learning to which he has ever 
turned his attention." — Prof. R. W. Whiting. 

I. His Early Life and Education. 

PEOFESSOR DANIEL BARCLAY WILLIAMS 

jL first saw the light of day in the city of Richmond, 
Ya. He graduated from the Richmond Normal and 
High School in 1877 with distinguished honors. 
He was the acknowledged leader of his class* in 
Worcester Academy till his graduation in 1880. 
He was matriculated in Brown University in June 
1880, and, in the fall of the same year, began to 
teach in the Richmond schools. He taught in the 
city till June, 1884, and, in the fall of 1885, taught in 
Henrico County. With wonderful tenacity of pur- 



SCIENCE AND ART OF ELOCUTION, 



pose, he pursued the entire course of Brown Uni- 
versity, which he completed in 1885 Jn the fall of 
1885 he was elected teacher in the V. N. and C. I., 
and, in 1887, he was elected Professor of Ancient 
Languages and Instructor in Pedagogy. — From Pro- 
fessor D. W. Davis. 

II. As an Educator. 

As an educator, Professor Williams has few 
equals. He has had fourteen years' experience, and 
has given instruction in common school, high school, 
academic, and college courses. As a linguist, he 
occupies a first place. To him is mostly due the 
credit of building the Latin and Greek department 
of the Institute. — From John Mitchell, Jr. 

Professor Williams has the honor of building 
the pedagogical department cf the Institute. His 
grand work in building it ranks him among the 
foremost educators of the nation. He has added to 
it year by year, and caused it to rank among the 
foremost professional departments for teachers in 
the state. — From Professor I. G. Ptnn. 

III. As a Writer, Author, and Publisher. 

For the last thirteen years, Dr. Williams has con- 
tributed leading articles to leading newspapers and 
magazines. He is one of the few colored writers 
whose articles have been acceptable to the editors 
and readers of white journals. In 1883, he sent from 
the press his "Ethiopians, Pioneers in Civilization," 
and revised it in 1890. In 1887, he published 
"Science, Art, and Methods of Teaching," and issued 



jLvrnoDUCTiox. 



? 



a new edition in 1893. In 1891, be sent forth 
"Outlines of School Management" and "Pestalozzi 
and Froebel." In 1892, he issued his "Jerusalem 
Destroyed" and "The Solar System." In 1890, he 
gave the public "Freedom and Progress." He 
issued "Emancipation Address'' in 1893. Aside 
from these, he wrote "The Theory of Rev. John 
Jasper Concerning the Sun" and the "Introduction 
to the Afro-American Press.'' 

He has not only penned the thoughts comprising 
his books, but he has published and agented them 
successfully beyond a doubt. He assumes every 
dollar of expense on his works, and manages by 
close attention and perseverance in appointing and 
regulating agents to successfully pay for them and 
have a margin of profit. — From Professor I. G. Penn. 

IV. As an Instructor in Elocution and Oratory. 

As an instructor in Elocution and Oratory, Pro- 
fessor Daniel B. Williams is widely known, and 
ranks among the ablest of the country. From '85 
to '88, he taught the Senior Class of the Institute 
the science and art of elocution and oratory. From 
: 89 to the present time, he has taught the Demos- 
theno-T\'ebsterian Oratorical College Class of which 
the writer was a member. 

His Qualifications as a Rhetorician and an Orator. 

He possesses that eloquence which comes from 
the depths of the soul. He is at times vehement 
and picturesque, now persuasive, ever convincing 
and profound. He is one of the clearest speakers. 



8 SCIENCE AND ART OF ELOCUTION. 



He seems to be favored by nature and education 
with all the advantages needed for the calling. He 
is fortified with well-disciplined faculties, and his 
general knowledge, which is worth much for the in- 
formation it imparts, still more for the manhood 
and womanhood it quickens, is exhaustive. His 
memory is prodigious, and he has a wonderful 
power of gesticulation. Well equipped in the 
science and art of grammar, rhetoric, and logic, his 
productions are masterpieces of English composition. 
Intertwined with the zeal and earnestness of Webster 
and Clay, his character embodies the principles of 
unblemished Christianity. His life is fragrant with 
the aroma of virtue. His sympathies are for the 
weak and oppressed, while he labors unceasingly 
for the elevation of his people. He has a prominent 
forehead, a pleasant countenance, a musical voice, 
and eyes beaming with intelligence. In short, his 
qualifications as an orator are those of the masters 
of antiquity. 

As a Public Orator and Debater. 

For fourteen years, he has delivered lectures and 
addresses in and out of the state. He has spoken 
to the most ignorant, and they have been highly 
pleased at what he said ; he has addressed the most 
cultured, and received their hearty applause. 
When one hears him, there is a fervent desire to 
hear him again. The pearls of truth so rare and 
fresh, so pure and elevating that have fallen from 
his lips in the class room, in the pulpit, and on the 
rostrum, painted with a peucil dipped in his own 



INTRODUCTION. 



fiery heart, have found their way into nearly every 
state in the Union. — From Professor R. G. Chissell,A. B. 

His discourses are enjoyed alike by the ignorant 
and the cultured. His method and style are his 
own. The hearer is deeply impressed with the 
earnestness of the professor. The principle on 
which he discourses runs through his address with 
the majesty and force of a river. — From John Mitchell, 
Jr. 

Professor Williams is a brilliant conversationalist 
and an orator of convincing logic. On any subject 
that he discusses, his propositions are clear and his 
words are like bees laden with honey, and dull must 
be the intellect that does not learn something from 
this river of gold. — From Professor R. W. Whiting. 

' ; As an orator, Professor Williams ranks high." — 
Professor D. W. Davis. "Professor Williams is a 
gentleman of learning, taste, and sound judgment." 
Rev. W. J, Simmons. 

The Purpose of his Oratory. 
Professor Williams never speaks for show or 
mere effect. He aims to benefit his hearers by in- 
spiring them with lofty aspirations and producing 
tangible results. His speeches are the exponent of 
a man devoted to God and humanity. This is the 
secret of his power with all kinds of audiences. — 
From Professor R. G. Chissell, A. B. 

V. His Widespread Reputation. 
Professor Williams reputation is not by any 
means confined to State limits, but the Nation knows 



10 



SCIENCE AND ART OF ELOCUTION. 



him as a scholarly and high-toned gentleman. He 
is not over-rated as some are. An evidence of his 
popularity is noted in the fact that a number of our 
leading men have conferred distinguished honors 
upon him by presenting sketches and cuts of him 
in 'their papers. On May 19, 1889, Livingstone 
College conferred on him the degree of A. M., and, 
in May, 1891, Shaw Universit}' honored him with 
the degree of Ph. D. 

In July, 1892, he was unanimously elected presi- 
dent of the Virginia Teachers' Association, after he 
had been Chairman of the Executive Board for 
three years. In July, 1893, he was again elected 
president by a vote of forty-eight out of fifty-one. 
At the Conference of Authors and an annual meet- 
ing of the American Association of Educators of 
Colored Youth, which met in Wilmington, N. C. 
December 28, 1892, he read an instructive paper on 
"The Urgent Need of Text-books, Prepared by 
Colored-American Educators." He played a promi- 
nent part in the organization of the Authors' Asso- 
ciation, and was unanimously elected Historian of 
it. — From Professor L (x, Penn. 

V. His Moral and Religious Character. 

I am reminded that Professor Williams is a Christ- 
ian gentleman of the first water. In all his life, he 
has seldom attempted to do anything of himself in- 
dependently of G >d. He has reached manhood 
without a single blot upon his record either as a 
student or a gentleman. — From Professor I. G. Penn. 

Professor Williams is a man of unblemished 



INTRODUCTION, 11 



moral character. Having watched him in his up- 
ward flight, we pause for words with which to ex- 
press our admiration for one who has overcome 
such apparently insurmountable obstacles. In the 
ecstac}- of the moment, we find ourselves exclaim- 
ing : 

"His life is gentle ; and the elements 

So mixed in him, that nature might stand up 

And say to all the world, "This is a man." 

— From John Mitchell, Jr. 




LECTUKE I. 



THE SCIENCE AND ART OF 
ELOCUTION. 



Elocution — The Science of Elocution — The Art of Elo- 
cution — The Importance of the Study — The World's Great 
Orators Studied Elocution — The Importance of Grammar, 
Rhetoric, and Logic to an Elocutionist. 



''L'eloquence est le talent d'imprimer avec force 
et de faire passer avec rapidite, sans Tame des 
autres, le sentiment, profond dont on est penetre." 
Z)' Alembeit. 

"Eloquence is the talent of impressing forcibly 
and of causing the thought, the depth of which one 
has penetrated, to pass rapidly out of the soul of 
others." 

"Delivery, I say, bears absolute sway in oratory." — Cicero. 

"Si vis roe plere,dolendum est 
Primum ipsi tibi." — Horace. 

"If you wish uie to weep, you yourself must first grieve." 

The word elocution is derived from the Latin 
word eloqui, and means to speak out. It is the ex- 
pression of our thoughts, feelings, and purposes, 
IVe may utter our thoughts in an attractive or un- 



14 SCIENCE AND AKT OF ELOCUTION. 



attractive manner. "Our elocution," says Fenno, 
"may be good, or it may not," 

By the science of elocution, we mean those prin- 
ciples and facts, a knowledge and application of 
which give effectiveness to reading, conversation, 
and public speaking. By the art of elocution, we 
mean an expression of thought in reading, conver- 
sation, or public speaking. The science of elocution 
imparts a knowledge of its principles and facts ; the 
art of elocution applies that knowledge in express- 
ing thought. 

How important is this study ! Man is a thinking 
being. He must employ speech. He must, from 
necessity, make known his multitudinous wants, 
ambitions, and purposes It is highly advantageous 
that he should express himself with the greatest 
possible clearness and force. How many persons 
labor under the great disadvantage of a disagreeable 
voice, an indistinct articulation, and a repulsive 
manner ! Careless or ignorant of the art of clear, 
forcible utterance, they are frequently misunder- 
stood or misinterpreted. 

The renowned orators and statesmen of Greece, 
Eome, France, England, and America paid close 
attention to the principles and practice of speaking. 
The force, clearness, and masculine strength of 
Demosthenes and the exuberance, brilliancy, and 
power of Cicero owed not a little to the fact that 
both of these masters of eloquence were devoted 
worshipers at the shrine of elocution, How much 
the brilliancy and effectiveness of Webster and the 
richness and perspicuity of Clay were indebted to 



SCIENCE AND ART OF ELOCUTION. 15 



their elocutionary labors, it is impossible to say. 
All who have listened to the matchless eloquence 
and the brilliant rhetoric of Douglass, Langston, 
Garnett, Crummell, Price, Brooks, Blyden, and 
Bishop Arnett could not fail to note that the 
favorable impression which they made were due, in 
great measure, to their musical voice, distinct 
articulation, expressive modulation, and grace of 
bearing, 

The student of elocution should studiously pursue 
grammar, rhetoric, and logic. Grammar teaches 
how to speak and write correctly, Rhetoric treats 
of composition and style in both written and 
spoken discourse. He who strives for excellence 
in the effective art of elocution should be 
well acquainted with the underlying principles 
which insure correctness of speech, the most effec- 
tive arrangement of thought, and the clearest modes 
of expression. Mr. Webster defines logic as "the 
science of pure and formal thought, or of the. laws 
according to which the process of pure thinking 
should be conducted." It is the province of logic 
to test the truthfulness or the error of a proposition. 
Certainly, he who gives utterance to an idea should 
be able to prove its accuracy by the principles of 
logic. I would strongly recommend to the student 
of elocution a profound acquaintance with this trio 
of linguistry-grammar, rhetoric, and logic. 

We shall consider the science and art of elocution 
under the divisions of vocal culture, articulation, 
expression, and gesture. These divisions of the 
subject will be treated* in the succeeding lectures. 



LECTURE II. 

VOCAL CULTURE 



The Human Voice the Basis of hlocution^—The World's 
Singers, Readers, and Speakers Exercise Care in its Culti- 
vation — What Should be our Aim in Cultivating it— At- 
tention Should be Given to Breathing, Vocal Drill, and 
Calisthenics. 



"All art must be preceded by a certain mechanical expert- 
ness."— Goethe. 

"The tone of voice in ordinary reading should be sweet, 
musical, and sprightly." — L. B. Monroe. 

The human voice constitutes the basis of elocution. 
It is the principal agent by which we make known, 
our thoughts. When the breath passes over the 
vocal chords, which are located in the larynx, voice 
is produced. This power must be cultivated if we 
would preserve a pure tone and ease of utterance. 
Its quality is greatly improved by judicious exercise. 
By vigorous practice, it is rendered strong and re- 
sonant ; through disuse, it loses readiness of articu- 
lation. 

The world's noted singers are careful in the culti- 
vation of their voices. This is equally true of the 
best readers and speakers. A clear, flexible voice 
possesses a fascination which seldom fails to attract 



VOCAL CULTURE. 17 



us. Quality of voice, articulation, and modulation 
greatly aid us in determining the intellectual and 
moral character of different people. The refined, in- 
tellectual man or woman reveals culture in express- 
ing ideas. The weak, vacillating man generally 
speaks in an indistinct or somewhat harsh tone. 
The man of upright life and clear conscience, gen- 
erally utters his thoughts in a resonant, dignified 
tone. To a certain degree, the voice is an index of 
the soul. 

In cultivating this Aeolian harp of nature, we 
should aim to give it strength, purity, compass, re- 
sonance, agreeableness, flexibility, adaptation, and 
fervor. In the cultivation of the voice, careful at- 
tention should be given to a good habit of breathing, 
vocal drill, and calisthenics. 

Correct breathing expands the chest, increases 
the capacity of the lungs, and aids the healthy 
actions of the vital organs. It should not interfere 
with one's reading or speaking. This end is obtained 
by taking in the breath at the pauses. The follow- 
ing exercises in breathing will be found beneficial : 
(1.) Having assumed an erect posture, breathe 
slowly until the lungs are well filled with air ; then 
allow the air to escape slowly through the mouth. 
(2.) Breathe deeply, and suddenly force the breath 
through the mouth. (3.) Breathe deeply, and 
hold the breath for a short while. Then expel it 
suddenly or slowly, bending the body backward, 
forward, to the right, and to the left. These exer- 
cises will not only strengthen the lungs, but also im- 
prove the general health. 



18 



SCIENCE AND ART OF ELOCUTION. 



The true aim of vocal drill is to obtain a full, 
pure, resonant tone. Nothing can compensate for 
actual vocal exercises. The various selections illus- 
trative of quality of voice, melody, form, force, rate, 
and stress should be studied with care and prac- 
ticed with frequency. A systematic recital of these 
selections inevitably result in a purer, more flexible, 
and more agreeable voice, a clearer articulation, and 
a more expressive modulation. 

Calisthenic exercises are helpful to vocal culture. 
The arm and supine hand exercises together with 
the head and body movements tend to enlarge the 
chest and add to the general health. The following 
suggestions respecting calisthenic exercises may be 
serviceable to the student : To practice the free arm ex- 
ercise, rest the closed hands on the chest with the 
elbows down. Make four downward movements 
with the right hand, then with the left hand, then 
With both hands simultaneously, then with both 
hands alternately. Then throw the hands laterally, 
upward, and front. To practice the supine hand exercise, 
place the hands in the same position. As the hands 
are thrown downward, laterally, upward, and front, 
they are allowed to open as they are thrown out 
and to close as they return. The head movements may 
be easily acquired by throwing the head forward 
once, backward twice, then alternately four times. 
Then throw it to the right twice, to the left twice, 
then alternately four times. To acquire graceful- 
ness in the body movements, bend the body forward 
twice, backward twice, then alternately four times. 
Then bend it to the right twice, to the left twice, 
then alternately four times, 



LECTUEE III 

ARTICULATION 



Webster's Definition of Articulation — Its Importance — 
The Number of Elementary Sounds — Vocals — Subvocals — 
Aspirates — Substitutes — How to Study Phonology — Im- 
portance of Studying a Standard Dictionary — Careful 
Practice in Articulation Necessary, 



"Speak the speech, I pray you, as I pronounced it to you, 
trippingly on the tongue ; but, if you mouth it, as many of our 
players do, I had as lief the town-crier spoke my lines." — 
Hamlet. 

According to Webster's Dictionary, articulation 
is the utterance of the elementary sounds of a lan- 
guage by the appropriate movements of the organs. 
The importance of a clear, distinct enunciation can 
not be estimated. How many persons of some ed- 
ucational advantages are indifferent and careless 
with reference to a distinct and accurate enuncia- 
tion! How often beautiful, brilliant thoughts are 
marred and dimmed by an imperfect articulation ! 
Such a spectacle presents to us the incongruous pic- 
ture ol a handsome, well-formed body clothed in 
shreds and rags. What winning grace and dignity 



20 SCIENCE AND ART OF ELOCUTION. 



does an accurate enunciation add to man or woman ! 
It renders beautiful words more beautiful, powerful 
thoughts more powerful. It changes the iron links 
of conversation into silver, and the silver ones into 
yellow gold. It cures the harsh stuttering of De- 
mosthenes and Curran, and gives them clearness, 
grace, and power of speech. It is the magical se- 
same of the orator which makes him the happy 
possessor of valuable treasures. 

Eminent authorities on orthography differ in re- 
gard to the number of elementary sounds in the 
English language. Shoemaker and Fenno speak of 
forty-six ; Kerl, of forty- three ; Harvey, of forty- 
two ; Greene, of forty ; Comstock, of thirty-eight ; 
Jones, of twenty-eight. According to this work, 
there are for by-six elementary sounds in our lan- 
guage. These sounds are formed in connection 
with the breath by the tongue, lips, palate, and- 
teeth, which are denominated the organs of articu- 
lation. The cavities of the mouth and nose some- 
what affect the tone, imparting to it strength and 
resonance. The distinguished grammarians Harvey 
and Greene divide the elementary sounds into vo- 
cals, subvocals, and aspirates. 

Vocals consist of pure tone only, and are made 
with the vocal organs open. They are a long, as in 
ale ; a short, as in add ; a, as in arm ; a, as in all ; a, 
as in pair ; a, as in grass; e long, as in peace ; e 
short, as in check ; e, as in earn ; i long, as in fine ; 
i short, as in fin; o long, as in old; o short, as in not; 
o like long oo, as in prove ; o like short oo, as in 
wolf ; u long, as in tube ; u short, as in tub ; w, as in 



ARTICULATION. 21 

urge ; oi or oy, as in oil, toy ; ou, as in out ; ou also 
like ow, as in hound, Mr, Webster considers the 
sound of a in all as identical with that of o in order 
and those of y in style and myth as identical with 
the long and short sounds of i. The sound of u pre- 
ceded by r, as in rude, may be considered identical 
with the sound of oo in food. There are therefore 
twenty -one vocal sounds. 

Subvocals consist of tone united with breath. 
They are sometimes called combined sounds. They 
are b, d, g, j, 1, m, n, r, ng, v, w, z, zh, y, and th ; as 
in bag, day, gay, jag, log, man, net, rat, long, vine, 
wet, zone, azure, yet, and they. They are fifteen in 
number. 

Aspirates consist of breath only modified by the 
organs of articulation. They are f, h, k, p, s, t, th, sh, 
ch, and wh ; as in fan, hen, kite, pan, sin, take, think, 
shy, church, and whence. They are ten in number. 
While this work agrees with those of Shoemaker 
and Fenno in respect to the number of sounds, it 
slightly differs in classification. 

The following sub-divisions are sometimes made : 
labials, as b, p, m, w, v, and z ; Unguals, as 1, r ; pala- 
tals, as k, g in gay, and y in yes ; dentals, as d, t, th, 
z in azure, sh, s, z, j, ch. When r precedes a vowel, 
it may be slightly trilled. While it may sometimes 
add to the effectiveness of a passage, it should be 
used sparingly. It may be employed in easy, light 
description. It is seldom used in serious discourse. 

It must be borne in mind that the sounds of some 
letters and combination of letters are sometimes re- 
presented by substitutes ; thus, ti is sometimes used 



22 SCIENCE AND AKT OF ELOCUTION. 

as a substitute for ch ; % has as substitutes ks and 
gz ; e in tete, ei in feint, and ey in they are used in 
place of a long. Qu has the sound of Jew, as in 
queen ; ch sometimes takes the sound of sh and, at 
other times, that of k. The sounds of all substi- 
tutes — vowel and consonant — are included in the 
afore-mentioned forty-six elementary sounds. In a 
few cases, two elementary sounds are quickly ut- 
tered together ; as, gz for x, kw for qu. 

A correct knowledge of the sounds of all these 
letters is at the basis of clear, correct reading and 
spelling. I would strongly recommend a systematic 
study of phonology, or the science of sounds. This 
can be well done by diligence and application. 
Select several monosyllabic words which embody 
the long sound of a. Analyze each word with re- 
ference to the sounds of which it is composed. 
Take others which have the sound of a in add, arm, 
all, pair, and glass. Select words which embody 
the different sounds of the other vowels. Practice 
these words till the vowel sounds are mastered. 

Attention may now be given to subvocals and as- 
pirates. Pick out a list of words of one syllable 
embodying the needed consonantal sounds. Par- 
ticular care should be exercised in practicing the 
sounds of c, x, ch, sh, th, qu, and wh. When one- 
syllable w r ords can be spelled phonetically with ease, 
those of two syllables embodying the vowels and 
consonants may be easily learned ; after which those 
of three or more syllables may be mastered with 
ease. Several processes are required in phonic 
spelling. (X.) Pronounce the word correctly and 



ARTICULATION. 23 

distinctly. (2.) Spell it by naming its letters. (3.) 
Spell it by giving its sounds. (4.) Pronounce it 
clearly. 

He who desires to pronounce words with exacti- 
tude should be a diligent student of a standard dic- 
tionary. It is essential to correct enunciation that 
the key to the pronunciation of one's dictionary be 
thoroughly learned. When one's attention is called 
to a mispronunciation, he should at once consult his 
dictionary, "When there is the least doubt in the 
mind with reference to the pronunciation of a word, 
the lexicon should settle it at once. A habit of 
using standard authorities on pronunciation will 
thus be engendered. 

We should exercise careful discrimination in con- 
sulting dictionaries. There are disagreements 
among dictionarians with reference to the pronun- 
ciation of some important words. We should, in 
such cases, follow the weight of authority. Richard 
Grant White very sensibly said, "A refined and care- 
fully educated person will pronounce his words, not 
only according to some good authority, but will 
adopt that pronunciation which is sustained by the 
majority of the best dictionarians, which alone set- 
tles the weight of authority.' ; 

Nothing can compensate for actual practice in ar- 
ticulation. Beading aloud slowly and distinctly 
conduces much to a correct enunciation. Be care- 
ful that the vowels are clearly sounded, and that 
every consonant not silent is properly enunciated. 
Exercises in which transitions or repetitions of the 
same sound occur are highly beneficial in mastering 



24 SCIENCE AND ART OF ELOCUTION. 



the elementary sounds. Practice the following se- 
lections until absolute correctness is acquired : 

He spoke reasonably, philosophically, disinterestedly, and 
yet particularly of the unceremoniousness of their cornmunica- 
birity, and peremptorily, authoritatively, unhesitatingly de- 
clared it to be wholly inexplicable. — Practical Elocution. 

When the boot black had blacked one of the black boot 
black's boots till it tshone in a manner that would make any 
boot black proud, this boot black who had agreed to black the 
black boot black's boots refused to black the other boot of the 
black boot black until the black boot black, who had consented 
to have the white boot black black his boots, should add five 
cents to the amount the white boot black had made blacking 
other men's boots. — Fenno's Elocution. 




LECTUEE IV. 

EXPRESSION 



Expression Includes Modulation, Emphasis, and Kinds 
of Pieces — Modulation Embraces Kind of Voice, Melody, 
Form, Force, Time, and Stress — Emphasis — Some General 
Directions Concerning it — Kinds of Pieces — How to Ana- 
lyze a Selection, Oration, or Essay — Selections Analyzed. 



"Tn the name, then, of physical and mental well-being, I de- 
mand that the art of reading aloud shall be ranked among the 
principal branches of public education." — Ernest Legouve. 

"Behold, what fire is in his eyes, what fervor on his cheeks ! 
That glorious burst of winged words! how bound they from 
his tongue." — Tupper. 

Expression deals with the proper use of the voice 
in speech. It treats of those alterations which 
should be made in it for the clearest and most forci- 
ble utterance. It includes modulation, or elements 
of vocality, emphasis, and kinds of pieces. 

. 1. Modulation, or Elements of Vocality. 

Monroe and Le Eow speak of modulation in the 
sense of pitch. Fenno and other elocutionists use 
the term in a far more comprehensive sense. Ac- 
cording to them, modulation embraces quality, or 
kind of voice, melody, form, force, time, and stress. 



26 SCIENCE AND ART OF ELOCUTION 

I. Quality of Voice. 

Quality is the kind of tone which is produced by 
the vocal organs. It may be pure or impure. Pure 
tone may be simple pure or orotund. (1.) The sim- 
ple pure tone is well adapted to ordinary conversa- 
tion, reading, and speaking. The following should 
be read in this tone : 

A kind, loving preceptor makes a kind, loving, obedient 
school. Love reigns in Heaven, and is the dominant power of 
our nature ; it should, therefore, nervade the school with its 
holy influence— S. A. & M. of T.— The Author. 

The God he served was strong to save 

His servant in the den ; 
The fate devised for Daniel's life 

O'ertook those scheming men. 

—Mrs. F. E. W. Harper. 

(2 ) The Orotund is a full, round tone. It is 
adapted to the expression of awe, grandeur, sub- 
limity, courage, reverence, veneration, and other 
holy emotions. Horace uses this term in speaking 
of the flowing eloquence of the Greeks. In order 
to practice with effectiveness the orotund, pro- 
nounce the vowel O as forcibly as possible. Then, 
keeping the mouth in. the same position, pronounce 
the long and short sounds of the vowels A, E, I, 
and words which contain these sounds. The fol- 
lowing should be rendered with this tone : 

The solid basis of a pure social fabric has been laid, and the 
superstructure of a holy social condition is manifest on every 
hand. Freedom and Progress. — The Author. 

God ! at thine altar in thanksgiving bending, 
Grant that our eyes thy great goodness may Fee ; 

0, may thy light, while the temple's veil rending, 
Show, through its portals the path of the free. 

Freedom's Jubilee.— E. W. Smith. 



EXPRESSION. 27 



Impure Tone is used to express the baser passions 
and emotions. It is also used in the recital of 
pieces of a ludicrous nature. It may be divided in- 
to aspirate, pectoral, guttural, and falsetto. 

(3.) The Aspirate is a strong whisper which has 
a little or no vocalit} r . It may be a half-whisper or 
a pure whisper. It is employed to signify wonder, 
fear, secrecy, caution, and moral impurity. The 
following should be given in the pure whisper : 

Soldiers, you are now within a few steps of the enemy's out- 
post. Our scouts report them slumbering around their watch- 
fires, and entirely unprepared for our attack. 

The pure whisper is not frequently used in read- 
ing and speaking. It is very valuable, however, in 
the development of the voice. Preference is usual- 
ly given to the half-whisper. The following may 
be practiced in the half- whisper : 

Hark ! I hear the bugles of the enemy ! They are on their 
march along the bank of the river. For the boat! Forward! 

(4.) The Pectoral is a very low orotund. It is 
used to denote despair, anger, solemnity, and that 
which is supernatural. The folio wing stanza should 
be given in this tone : 

0, 1 have passed a miserable night — 

So full of fearful dreams and ugly sights, 

That, as I am a Christian, faithful man, 

I would not spend another such anight, 

Though 'twere to buy a world of happy days — 

So full of dismal terror was the time. 



28 SCIENCE AND ART OF ELOCUTION. 



(5.) The Guttural is a deep tone formed in the 
throat. • It expresses loathing, contempt, revenge, 
hatred, and intense anger. The following should 
be rendered in the guttural tone : 

How like a fawning publican he looks ! 

I hate him for he is a Christian. 

If I catch him once upon the hip, 

I will feed fat the ancient grudge I bear him — 

Cursed be my tribe if I forgive him. 

Merchant of Venice.— Shakespeare. 

(6.) The Falsetto is a very high-pitched tone. 
It is the language of terror or pain, and is used to 
imitate the voice of a female, The cry, scream, and 
yell are different modes of the falsetto. The words 
of Xantippe in the following stanza should be given 
• in this tone : 

"Now, Socrates, ctearest," Xantippe replied, 
"I hate to hear everything vulgarly my'd ; 
Now, whenever you speak of your chattels again, 
Say our cow house, our barn yard, our pig pen." 

(II) Melody. 

By Melody we mean a melodious sound produced 
by a rhythmical succession of tones. It has re- 
spect to pitch, inflections, and cadence. In nothing 
is a reader's good taste more manifest than in his 
adaptation of pitch, inflections, and cadence to dif- 
ferent shades of thought and emotion, Such a 
skilful adaptation imparts a musical expression 
which is truly captivating. 



EXPRESSION. 29 

(1.) Pitch is the degree of elevation of the voice. 
Low Pitch, which is usually associated with slow 
movement, is appropriate to seriousness, sublimity, 
solemnity, pathos, vehemence, and reverence. The 
following should be read in the low pitch : 

The stars shall fade away, the sun himself 
Grow dim with age, and nature sink in years; 
But thou shalt floi rish in immortal youth, 
Unhurt amidst the war of elements, 
The wreck of matter and the crash of worlds. 

Cato's Soliloquy. — Addison. 

Natural, or Middle Pitch is the tone of the voice 
used in ordinary reading or speaking. The follow- 
ing should be expressed in this pitch : 

There is a tide in the affaire of men, 
Which, taken at its flood, lead on to fortune ; 
Omitted, all the voyage of their life 
Is bound in shallows and in miseries, 

— Shakespeare, 

High Pitch, which usually accompanies fast rate, 
is employed to express excitement, gayety, joy, fear, 
and grief. The following should be rendered in 
this tone : 

Hurrah for the sea ! the all-glorious sea ! 

Its might is so wondrous, its spirit so free ! 

And its billows beat time to each pulse of my soul, 

Which, impatient, like them, cannot yield to control. 

(2.) Inflections, or Slides are upward and down- 
ward movements of the voice employed to give a 
better expression in reading or speaking. In ex- 



30 



SCIENCE AND ART OF ELOCUTION. 



pressions of power, vastness, awe, reverence, and 
solemnity, the voice generally maintains a level 
movement. This intonation is designated a mono- 
tone. The following should be read in this tone : 

Holy ! holy ! holy ! Lord God of Sabaoth ! 
Shall mortal man be more just than God ? 
Shall a man be more pure than his Maker? 

— Job iv:17. 

Ascending Inflections, or Slides are upward 
turns of the voice. They signify uncertainty, inter- 
rogation, and incompletion of thought. The fol- 
lowing should be rendered with the rising inflection 
on attire, holiday, flowers, and blood. 

And do you now put on your best attire ? 
And do you now cull out a holiday ? 
And do you now strew flowers on his way 
That comes in triumph over Pompey's blood? 

Descending Inflections, or Slides ars downward 
turns of the voice. They denote assurance, a fixed 
purpose, and completeness of thought The follow- 
ing should be recited with the falling inflection on 
bondman, speak, offended, and Roman. 

Who's here so base that would be a bondman ? If any, 
speak; fer him have I offended. Who's here so rude that 
would not be a Roman ? If -any, speak; for him have I of- 
fended. 

The Circumflex, or Complex Inflection is a turn 
of the voice which includes both a rise and fall on 
the same syllable. It is the utterance of contrast, 
comparison, raillery, and irony. The following 
stanza from Shakespeare's Julius Caesar should re- 
ceive the circumflex inflection on say, better, appear, 
true, well, ql<id, and noble. 






EXPRESSION. 31 

You say you are a better soldier, 
Let it appear so. Make your vaunting true, 
And it shall please me well. For mine own 
Part, I shall be glad to hear of noble men. 

(3.) Cadence is the tone with which a sentence 
ends. It may terminate with the rising, the falling, 
or the circumflex inflection ; or it may end with no 
slide whatever. A nice discrimination with refer- 
ence to the meaning of a sentence will aid in de- 
ciding with what inflection it should terminate. A 
sentence which embraces a complete thought with 
no modifying phrase or clause, and which is not af- 
fected by anything which precedes or follows it 
should end with the falling inflection ; otherwise, it 
should close with a tone adapted to the connection 
of meaning, 

III. Form. 
The form of voice ma}' be effusive, expulsive, or 
explosive. In the effusive form, the breath is given 
out gently and without effort. It is characteristic 
of that which is grand, beautiful, or pathetic. The 
following stanza should be read w T ith this form : 

Over the river they beckon to me, 

Loved ones who crossed on the other side; 
The gleam of their snowy ro^es I see, 

But their voices are drowned by the rushing tide. 
There's one with ringlets of sunny gold, 

And eyes the reflection of heaven's own blue. 
He crossed in the twilight gray and cold, 

And the pale mist hid him from mortal view. 

In the Expulsive Form, the breath is expelled 
with the amount of effort needed in ordinary read- 



32 



SCIENCE AND ART OF ELOCUTION. 



ing or speaking. It is the most common kind of 
form. The following stanza from "The Builders" of 
Longfellow should be rendered with this form : 

All are architects of Fate, 

Working in these walls of Time ; 
Some with massive deeds and great, 

Some with ornaments of rhyme. 
For the structure that we raise 

Time is with materials filled ; 
Our to-days and yesterdays 

Are the blocks with which we build. 

In the Explosive Form, the breath is given out 
with a jerking or bursting effort. It is usually em- 
ployed in shouting, military commands, and vehe- 
ment language. The following shouldbe given with 
this form : 

"Halt!" — the dust-brown rank stood fast; 
"Fire!"— out blazed the rifle blast.. 

(IV.) Force, 

Force h the degree of loudness used in reading 
or speaking. It may be gentle, natural, or loud. 
The intensity of force is conditioned on the space 
to be filled by the voice and the emotions expressed. 
In the school-room, a clear tone and an easy utter- 
ance should be cultivated. 

Gentle Force is well adapted to tender and pa- 
thetic descriptions. The following pathetic stanza 
from "The Burial of Moses" should be read with 
gentle force : 

Noiselessly as the spring-time 

Her crown of verdure weaves, 
And all the trees on all the hills 

Open their thousand leaves, — 
So, without sound of music 

Or voice of them that wept, 
Silently down from the mountain, crown 

The great procession swept. 



EXPRESSION. 33 



Natural, or Moderate Force is most commonly 
employed in ordinary reading or speaking. The fol- 
lowing stanza should be rendered with this force : 

Do not look for wrong or evil — 

You will find them if you do ; 
As you measure for your neighbor 

•He will measure back to you. 

Loud Force is adapted to grand descriptions and 
ideas of power. The following spirited stanza 
should be read with loud force : 

The storm is out ; the land is roused ; 
Where is the coward who sits well housed ? 
Fie on thee, boy, disguised in curls, 
Behind the stove, 'mong gluttons and girls, 

Forth in the van, 

Man by man ! 
Swing the battle-sword who can ! 

V. Movement, or Eate of Utterance. 

Movement, or Eate of Utterance signifies the 
amcunt of time given to a word or to several suc- 
cessive words. The time given to a word is some- 
times called quantity ; that given to several succes- 
sive words is sometimes called rate. In this work, 
rate embraces the time of a word or that of several 
successive words. In speaking or reading, move- 
ment may be slow, natural, or fast. 

Slow Movement, or Eate is characteristic of the 
utterance of horror, repose, tenderness, pathos, 
grief, vastness, and power. The following lines 
from William Cullen Bryant's Thanatopsis should be 
read with slowness : 



34 SCIENCE ANt) ART OF ELOCUTION. 

So live that when thy summons comes to join 

The innumerable caravan that moves 

To the pale realms of shade where each shall take 

His chamber in the silent halls of death, 

Thou go not, like a quarry slave at night 

Scourged to his dungeon ; but sustained and soothed 

By an unfaltering trust, approach thy grave 

Like one who wraps the drapery of his couch 

About him, and lies down to pleasant dreams. 

Natural, oe Moderate Movement is employed in 
ordinary reading or speaking. The following stan- 
za should be read with a moderate rate : 

To gild refined gold, to paint the lily, 

To throw perfume on the violet, 

To smooth the ice, or add another hue 

Unto the rainbow, or with a taper-light 

To seek the beauteous eye of heaven to garnish, 

Is wasteful and ridiculous excess. 

Fast Movement, or Rate is used to express ex- 
citement, fear, earnestness, and lively or joyous 
emotion. The following extract from The Battle of 
Ivry by T. B. Macaulay should be read with ra- 
pidity : 

A thousand spurs are striking deep, a thousand spears in rest, 
A thousand knights are pressing close behind the snow-white 

crest, 
And in they burst, and on they rushed, while like a guiding 

star, 
Amid the thickest carnage blazed the helmet of Navarre. 

In connection with rate of utterance, it may be 
appropriate to speak of pause. Mr. Webster says : 
"Pause is a temporary cessation, or brief suspen- 
sion of the voice in reading or speaking." A gram- 
matical pause is indicated by marks of punctuation. 



EXPRESSION. 35 

A rhetorical pause is one made in reading ; as, hab- 
its of mental discipline are necessary in any system 
of education. A rhetorical pause occurs after dis- 
cipline. Prosodial pauses are used in verse. Sher- 
idan, Dr. Lowth, Garrick, Di\ Johnson, and Sargent 
affirm that a pause should be made at the end of 
every line of poetry whether the sense requires it 
or not. This pause, however, should be so slight 
as not to interrupt the sense of the poem. 

We may also speak of long, natural, and short 
pauses. These may be used in almost all reading 
and speaking Long pause is usually used in con- 
nection with slow rate. Natural pause is character- 
istic of ordinary description and unimpassioned 
language. Short pause attends fast rate, and is 
suited to haste, fear, or surprise. 

(VI.) Stress. 

Stress is force applied to a word or syllable. It 
may be termed a finishing, polishing touch which 
renders the thought more beautiful and complete. 
It is less important than correct quality of voice, 
suitable degrees of pitch, rate, or emphasis. It is 
highly advantageous that instruction and practice 
on stress be limited to single words. Stress may 
be initial, median, final, compound, thorough, and 
tremulous. 

(1.) Initial Stress is an explosive force on the 
beginning of a word. It belongs to the utterance 
of all sounds which convey abrupt or startling emo- 
tions. It also exists in the natural speaking voice, 
and is the most common form of stress. It is 



SCIENCE AND ART OF ELOCUTION. 



adapted to lively, joyous description. The follow- 
ing excerpt of Cicero's Oration against, Catiline may be 
practiced with the initial stress: 

Long since, Catiline, ought the consul to have ordered thee 
to execution, and brought upon thine own head the ruin thou 
hast been meditating against other?. There was that virtue 
once in Rome that a wicked citizen was held more execrable 
than the deadliest foe 

(2.) Median, or Smooth Stress is an effusive 
force applied to the middle of the word. It some- 
times occurs on a single word, and sometimes con- 
tinues throughout an entire sentence. It is char- 
acteristic of the orotund quality. It is the most 
agreeable form of stress. The following extract 
may be practiced with this stress : 

Enrich and embellish the universe as you will, it. is only a 
temple for the heart that loves truth with supreme love. The 
laws of nature are sublime, but there is a moral sublimity be- 
fore which the highest intelligence must kneel and adore. 

Education. — Horace Mann. 

(3.) Final Stress is an explosive force on the lat- 
ter part of a syllable or word. It expresses anger, 
defiance, and great determination. The following 
stanza may be practiced with this stress : 

Thou slave ! thou wretch ! thou coward ! 
Thou little valiant, great in villainy ! 
Thou ever strong upon the stronger side! 

King John. — Shakespeare. 

(4.) Compound Stress is compounded of the ini- 
tial and final in the same word. It expresses great 
surprise, sarcasm, and irony. The following may 
be rendered with this stress : 

Gone to be married ! Gone to swear a peace ! 
False blood to false blood joined ! Gone to be friends ! 
Shall Lewis have Blanche and Blanche these provinces! 

King John.— Shakespeare. 



EXPRESSION. 



37 



(5.) Thorough Stress is an emphatic force used 
in shouting, calling, commands, and courageous ut- 
terances. The following stanza should be rendered 
with this stress : 

Blaze with your serried columns ! 

I will not bend the knee ! 
The shackles ne'er again shall bind 

The arm which now is free. 

(6 ) Tremulous Stress is a broken or tremulous 
force used in expressions of fear, joy, sorrow, pathos, 
grief, sickness, and in imitation of the weak voice 
of old age. The following stanza should be read 
with this stress : 

God ! to clasp those finger's close, 

And yet to feel so lonely ! 
To see a light on dearest brows 

Which is the daylight only ! 

Be pitiful, God!— The Cry of the Human.— Elizabeth 
Barrett Browning. 

(2) Emphasis. 

Emphasis is a particular stress of utterance, or 
force of voice given to the words or parts of a dis- 
course which the speaker desires to impress on his 
hearers. It may consist of any peculiarity of ex- 
pression which will direct attention to a word or 
words of a sentence. Emphasis may be of quality, 
pitch, force, rate, or stress. The orotund, aspirate, 
pectoral, or guttural tone may call special attention 
to words. High or low pitch, loudness of voice, 
fast or slow rate, or any kind of stress may be ef- 
fectively used for the same purpose. 



38 SCIENCE AND ART OF T-LOCUTION, 

He who desires to read or speak well should care- 
fully stuliy this subject. While no inflexible rules 
can foe given for the guidance of the elocutionist, 
some general directions concerning emphasis will 
be found serviceable to him. Firstly, in general, 
the subject, predicate, object, and connectives of a 
sentence should be emphasized. Secondly, in read- 
ing or speaking, analyze tire thoughts to decide 
which parts are most prominent. Give these spe- 
cial emphasis. Express tJie subordinate portions 
with less force. Thirdly, in general, pronouns, ad- 
jectives, and adverbs should be emphasized when 
contrast or comparison is intended. Practice the 
following examples from Julius Caesar : 

But what of Cicero? Shall we sound him V 
To you our swords have leaden points, Mark Antony. 
Here is a mourning Rome, a dangerous Rome. 
.. Most noble Caesar ! royal Caesar! 

Speak your grief softly ; I do know you well. 

Fourthly, a succession of objects or ideas should 
be emphasized, Each of the series should 'receive 
more force than the one preceding it. The follow- 
ing examples of climax may be practiced with ben- 
efit : 

Days, r,ion ths, and years have passed. Clarence 
has come ! false, fleeting, perjured Clarence ! Lib- 
erty and union, now and forever, ONE and inseparable. 

Fifthly, a word may be made more emphatic by 
bringing out its full meaning by its sound. The 
quality of the sound or noise which an externalob- 
ject makes may also be imitated by the sound of 
the voice. This playing upon words is frequently 



EXPRESSION. S3 



termed word-individuality, expressive intonation, 
or imitative modulation. The following words may 
be practiced to briug out their full meaning : Whis- 
tle, roar, crash, flow, rattle, buzz, rich, poor, little, 
hard, broad, breast, dove, powerful, glory, terrible, 
gold, silver, lordly, sparkling. 

In practicing selections, pay strict attention 
to word individuality. Words are like pianos. To 
the one ignorant of their meaning, they have little 
attraction ; but when a master touches them, they 
unfold unexpected beauty and power. 

(3 ) Kinds of Pieces and Analysis. 

Conversation, reading, and public speaking con- 
stitute the three forms of speech. When we con- 
verse, we usually speak such words as come most 
readily to our lips. In conversation, our language 
should be correct, chaste, and natural. In reading, 
we generally reproduce the thoughts of another. 
Without careful study, the reader is liable to em- 
ploy an unnatural mode of expression. A selection 
of any kind should be read as a cultivated person 
would speak it. In public speaking, a marked dis- 
tinction should be made between the conversational 
or explanatory and the rhetorical or dramatic por- 
tions. Description or narration should never be 
delivered in a declamatory style. 

To use the voice with good effect in reading or 
speaking, there is needed a thorough analysis of the 
thoughts and feelings to be read or spoken. It is 
evident that almost if not all pieces for expressive 
reading may be arranged in appropriate classes. 



40 SCIENCE AND ART 01* ELOCUTION. 



These classes are based on the emotions, which 
constitute the soul of expressive reading, and will 
be found definite enough for all ordinary purposes. 
These different classes are as follows : 

(1.) Unemotional. Under this class, we may 
place pieces of a conversational, narrative, descrip- 
tive, or didactic nature. 

(2.) Joyous or Animated. This embraces compo- 
sitions of a happy, lively, or beautiful kiud. 

(3.) Pathetic and Grave. To avoid too many 
classes, we prefer to embrace pathetic and grave 
emotions in one class. Pathetic writings include 
all gentle, tender, or sad ideas, and grave, all ideas 
of solemnity, secrec}', fear, or reverence. 

(4.) Impassioned and Bold. Under this class, we 
may place pieces which embody violent passions ; 
as, anger, hate, contempt, defiance, revenge, and 
fearlessness. Many declamatory pieces belong to 
this class. 

(5.) Grand. This class embraces all ideas that 
are great, noble, sublime, majestic, or heroic, 

(6.) Ironic or Sportive. This class includes rail- 
lery, jest, ridicule, mockery, or sarcasm. 

How to Analyze a Selection or Oration. 

Firstly, when a selection is to be read, the reader 
should first determine its kind or general spirit, 
and place it in its appropriate class. This should 
be done in order that he may know with what qual- 
ity of voice, pitch, form, force, rate, and stress it 
should be rendered. All these separate elements 
are found in the natural expression of each kind of 



JXPRISSION. 41 

composition. The term abrupt stress in the following 
classes means initial, final, or compound stress. 
The judgment of the reader must decide which is 
appropriate to a particular word. 

(1.) In Emotional Sellctions, pure quality of 
voice, middle pitch, expulsive form, moderate force, 
moderate rate, and smooth stress should be em- 
ployed. Light descriptions should have the effu- 
sive form. 

(2.) Joyous or Animated Pieces should be read 
with pure quality of voice, high pitch, effusive form, 
loud force, fast rate, and smooth stress. 

(3.) Pathetic and Grave Pieces embody almost 
the same elements of expression. Pathetic selec- 
tions should be rendered with the pure tone, middle 
pitch, effusive form, gentle force, slow rate, aud 
smooth stress. When pain or terror is expressed, 
the falsetto should be used. Grave selections 
should be read with the orotund tone, low pitch, 
effusive form, gentle force, slow rate, and smooth 
stress. When fear, aversion, or secrecy is express- 
ed, the aspirate quality of voice and abrupt stress 
should be used. 

(4.) Impassioned and Bold Pieces embody some 
similar elements. These selections should be ren- 
dered with pure quality of voice, middle pitch, ex- 
plosive form, loud force, moderate rate, and abrupt 
stress when they express moderate anger, moderate 
hate, or fearlessness. * The guttural tone should be 
used when they express intense anger, strong hate, 
defiance, or revenge. 



42 SCIENCE AND ART OF ELOCUTION. 



(5.) Grand Selections should be read with the 
orotund tone, effusive form, middle pitch, loud 
force, slow rate, and smooth stress, 

(6.) Ironic or Sportive Pieces admit much varie- 
ty. Ironic pieces should be rendered with a guttu- 
r;il tone, middle pitch, effusive form, slow time, and 
compound stress. Humorous selections including 
good-natured raillery or jest should be read with a 
pure tone, higher pitch, and faster time. With 
ironic and sportive selections, the force should vary 
from moderate to loud according to their boldness. 

Some elocutionist may take exception to our class- 
ification of selections and to some elements as- 
signed to some of the classes. Of course, I am 
fully aware that a prose or poetic piece may em- 
body such ideas and feelings that it could not per- 
haps be wholly classified under any one of the 
above classes. Such a piece would be called mixed. 
The unemotional part of it should be read accord- 
ing to the rule for reading unemotional pieces; the 
bold, according to the rule for reading bold pieces; 
other kinds, according to the rules given for them. 

Elocution is not an exact science. Much depends 
on the judgment, training, tact, and industry of the 
student of elocution. After having examined sev- 
eral authorities on classification of selections, I am 
convinced from study and class work that the one 
given in this work is most simple and useful for 
students, readers, and speakers. I would suggest 
that form of voice and stress may be omitted in the 
study of a piece. This may be helpful to learners. 



EXPRESSION. 43 

A thorough knowledge and readiness in classification 
and use of tone, pitch, force, and rate are essential 
to a good reader or speaker. The teacher should 
lay great stress on these. It is advisable for those 
who wish to excel in elocution to master all the ele- 
ments contained in tbe classes. 

Secondly, after a piece has been arranged in its 
appropriate class and its elements are known, the 
most important thoughts and their relative degree 
of importance should be determined. This is es- 
sential in order that proper emphasis may be used. 
The question arises, What standard will guide us in 
using emphasis ? The degree of force given to the 
unemphatic words will seive as a starting point in 
giving force to emphatic ones. In other Avoids, tbe 
kind of force appropriate to each different class is 
the standard force for the pieces of this class, We 
stated that, in unemotional pieces, tbe standard 
force is moderate ; in joyous or animated, loud ; in 
pathetic and grave, gentle ; in impassioned and bold, 
loud ; in grand, loud ; in ironic and sportive, it varies 
from moderate to loud. 

It is perfectly evident that some emphatic thoughts 
in a piece are more important than others. If all 
emphatic words in a given selection are read with 
tbe same force, equal importance is given to all. 
This would cause an author's thoughts to lose much 
of their weight. We must, then, determine the rel- 
ative importance of the emphatic words that tbe 
ideas may be fully brought out. As we know the 
standard force for any given piece, we may easily 
give to each emphatic idea its appropriate degree of 



44 SCIENCE AND ART OP ELOCUTION. 

force. It will be found advantageous at this junc- 
ture to study with care that portion of the work 
which treats of Emphasis. 

Selections Analyzed. 

An analysis of the following piece will serve to 
illustrate how each selection in this work should be 
studied and analyzed in an attempt to render it : 

The stars and stripes of the union and liberty 
wave their lustrous beauty over the German, not as 
a German, but as an American citizen ; and the Con- 
stitution, crimsoned with the blood of our ancestors; 
the courts, made sacred by the scourgings of Divine 
Providence, the salutary laws, purged and sanctified 
by a million brave sons of Columbia, protect and 
adorn us not as Colored-Americans, not as related to 
Africa, but as American citizens. — From the Author. 

First, let us ascertain the general spirit of this 
piece, and place it under its appropriate class. As 
the selection seems to embody the dignity of Amer- 
ican citizenship, it belongs to the class denominated 
grand. We have learned that grand pieces should 
be read with the orotund tone, effusive form, mid- 
dle pitch, loud force, slow rate, and smooth stress. 

Secondly, let us now decide what words should be 
emphasized, and what is their relative degree of im- 
portance. The words printed in italics and small 
capitals should receive emphasis. Those in small 
capitals are considered more important than the 
others. The standard force is loud. The words in 
italics should receive additional force to distinguish 
them from the unemphatic words. The words in 



EXPRESSION. 45 

small capitals should receive more force than those 
in italics. To express the general spirit and the 
relative significance of the ideas of this paragraph, 
we should use three distinct degrees of force. 

It is not uncommon to meet selections of a mixed 
character. Some portions may embody merely de- 
scriptive or didactic matter while others may con- 
tain sentiments of an animated, bold, grave, or hu- 
morous nature. The reader should aim to properly 
classify the different parts of a mixed piece and 
read each part with its appropriate vocal elements. 
The following extract from "Science, Art, and Meth- 
ods of Teaching" illustrates this class of selections: 

Let us look at the greatest of the world's great 
religious teachers — Jesus Christ. His mission to 
mankind was to save them from the curse and pen- 
alty of violated law. Between a holy, righteous God 
and unholy, sinful man, there could exist no fellow- 
ship. He came to earth to reconcile man to his 
God by making for him an atoning sacrifice. He 
lived a life of self-sacrificing devotion to man 
and holy rectitude. He alleviated the sick, and 
gave the balm of joy to the disconsolate and the 
distressed. He was feared and hated by the self- 
styled religionists and the canting infidels of his time, 
and, on a false charge, was nailed to a wooden 
cross. The master of death, he burst the strong 
bands of the grave, appeared for forty days among 
men, and, at last, triumphantly ascended to Heaven. 
He left to the world a philosophic system of holy 
truth, which regenerates the life, ennobles mankind , 



46 SCIENCE AND ART OF ELOCUTION. 



purifies governments, erects our grand institutions, 
and advances our civilization. 

In seeking to detect the general spirit of this 
piece, we discover that the first paragraph ending 
with sacrifice is unemotional ; that the part ending 
with "a wooden cross" is 'pathetic ; and that the re- 
maining is grand. The vocal- elements appropriate 
to the unemotional part are pure tone, middle pitch, 
expulsive form, moderate force, moderate rate, and 
smooth stress. The vocal elements appropriate to 
the pathetic part are pure tone, high pitch, effusive 
form, gentle force, slow rate, and smooth stress. 
The last part should be read with orotund tone, 
middle pitch, effusive form, loud force, slow rate, 
and smooth stress, Having properly classified each 
portion, the next step consists in picking out the 
words requiring emphasis and in deciding on their 
relative importance. The selection maynowberen- 
dered with correct expression. 

These directions for the analysis of a piece apply 
to poetry as well as prose. In reading poetry, 
enough attention should be given to quantity and 
accent to fill out the time uniformly in each foot of 
the poetic measure and to perceptibly mark its 
rhythm.* Care should be exercised to avoid the of- 
fensive sinking tone which is often heard in reading 
poetry. To read poetry as emotional prose is pre- 
ferable to a recital of it in an offensive sing-song 
tone. 

If the student of the selections of this work will 
carefully master vocal elements and systematically 
study to learn the nature of each piece and its em- 
phatic words, he may reasonably hope that his ar- 
tistic acquirements will render him an expressive 
reader. 



LECTURE V. 

GESTURE 



Gesture Defined— The Natural Expression of Feeling — 
Principles for Gesticulation — Position of the Body — Posi- 
tion of the Head — The Hands and Arms — Front, Oblique, 
Lateral, and Backward Gestures — Horizontal, Ascendivg, 
and Descending Gestures — Exercises for Gesticulation. 



'"To this standard make your just appeal : 
Here lies the golden secret, — Learn to feel." 

"The action of the hands is the common language of all 
mankind, without which all gesture is weak and impotent." — 
Quintilian. 

Gesture may be defined as a motion of the body 
or a part of the body expressive of sentiment or 
passion, While the subject of gesture is less im- 
portant than that of voice, it should be studied with 
care. It is the natural expression of feeling, lacier 
the impulse of joy, grief, anger, revenge, or any 
passion, the eyes, face, body, and arms are more or 
less affected. Unaided by language, it is possible 
for an individual to intelligently express by gesture 
alone almost any emotion or desire, Cicero advises 



48 SCIENCE AND ART OF ELOCUTION. 

the orator to study with care the management of the 
eye. Sheridan says, "With the hands alone, we can 
demand a promise, call, dismiss, threaten, suppli- 
cate, ask, deny, manifest joy, sorrow, detestation, 
fear, and admiration." 

The true key to the effective use of gesture is 
earnestness. When the speaker is animated with 
his subject, he will voluntarily gesticulate. In fact, 
the general tendency is to employ gesticulation to 
an excess. There should be no movement of the 
hands which does not aid in expressing a thought. 
It is no little accomplishment to be able to grace- 
fully stand still. The following stanza well de- 
scribes the man of ungraceful attitude : 

"Awkward, embarassecl, stiff, without the skill 
Of moving gracefully, or standing still — 
Blessed with all other requisites to please, 
He wants the striking elegance of ease." 

It is very difficult to lay down any practical rules 
for the expression of feeling by gesticulation. When 
that matchless statesman — Toussaint Louverture — 
called upon his people to repel the invading foe, he 
needed no rules of art to teach him how to gesture. 
The intense feeling which agitated his bosom pro- 
duced appropriate gestures. A noted writer said, 
"Nature can do much without art ; art, but little 
without nature. Nature assaults the heart ; art 
plays upon the fancy." 

Principles For Gesture, 

I. Position of the Body. The position of the 
]body should harmonize with the nature of the 



EXPRESSION. 49 



thought. A firm posture is in harmony with vig- 
orous utterance, and an easy, graceful attitude suits 
beautiful, joyous sentiment. In general, when the 
speaker's language is not impassioned at the begin- 
ning, the whole weight of the body should be thrown 
on either the right or left leg. One foot should be 
a little in advance of the other, and a space of six or 
eight inches should intervene between the feet. The 
weight of the body should generally be sustained 
by one foot, and the limb which does not support 
the weight should be slightly bent. If the weight 
of the body is borne by the right leg, the speaker 
may, on uttering a new paragraph or division of his 
subject, reverse his position, and use his left leg as 
he did his right. 

II. Position of the Head. The position of the 
head should be easy and natural. Some orators use 
the head with much effect. An excessive movement 
of the head detracts much from the effectiveness of 
delivery. When a speaker allows himself to stare 
into vacancy, he displays timidity to his audience, 
and is liable to lose control over them. The speaker 
should fix his gaze on the people addressed. The 
eyes should not be held entirely on the book during 
reading, but should be raised from it ever and anon. 
The whole expression of the countenance should be 
in harmony with the thought. 

III. The Hand and Aems. The hand and arms 
are used frequently in gesticulation. The hand may 
be supine, prone, vertical, pointing, or clenched. 
Each of these positions possesses its own sig- 
nificance. 



50 SCIENCE AND ART Oft ELOCUTION. 



(1.) The Supine Hand is loosely opened with the 
palm upward. It signifies honesty, an unfolding 
of thought, or geniality. It is most commonly used. 

(2.) The Prone Hand is loosely opened with the 
palm downward. It expresses denial, suppression, 
prostration, destruction, scorn, contempt, awe, so- 
lemnity, probability, or aversion. 

(3.) The Vertical Hand is thrown back upon the 
wrist with the palm outward and away from the 
speaker. It denotes repulsion, removal, or intense 
abhorrence. 

(4.) The Pointing Hand extends the fore-finger, 
and is employed to designate a particular thing or 
place and to express special emphasis, discrim- 
ination, or a warning. 

(5.) The Clenched Hand denotes great emphasis, 
fierce determination, forcible declaration, defiance, 
and anger. 

Gestures of the hand and arm may be front, 
oblique, lateral, or backward, (1.) Front gestures 
are made in the direction of a line drawn straight 
forward from the shoulder. They designate what 
is near, and signify specific reference, unity, or great 
emphasis. (2.) Oblique gestures extend to an angle 
of forty-five degrees between the front and side. 
They designate general reference and ordinary em- 
phasis. (3.) Lateral gestures are made in the di- 
rection of ninety degrees outward from the front, 
straight out from the sides. They are significant of 
distance, descriptive reference, withdrawal, and ex- 
tension in time, space, or thought. (4,) Backward 
gestures are made in a direction of forty-five degrees 



GESTURE. 51 



backward from lateral. They denote remoteness 
in space or time, retrospective ideas, and retrogres- 
sion. 

Each of these may be horizontal, ascending, or 
descending. (1.) Horizontal gestures should be 
level with the shoulders, Thev indicate equality, 
and belong to the realm of the intellect. (2.) Ascend- 
ing gestures should extend above the shoulders. 
They signify superiority, grandeur, elevation, or 
supplication, and belong to the realm of the imag- 
ination. (3.) Descending gestures express inferior- 
ity, determination, or great emphasis, and belong to 
the realm of the will. 

Every gesture with the hand should be given with 
firmness, and should consist of a preparation, an 
execution, and a return. In preparing for gestic- 
ulation, the hand rises half way between the front 
and side to a point a little above where the gesture 
is to be given. In its execution, the hand is brought 
down to the desired point with a stroke from the 
wrist upon the emphatic word. In its return, the 
hand slowly reaches its place at the side. Except 
in conveying ideas of force or strength, the hand 
should move in curved lines. 

The motion of the arms should commence at the 
shoulders, and should not be accompanied by any 
action of the shoulder or swaying of the body. The 
body should be kept square to the audience. When 
the left foot is in advance, gesture is most graceful 
with the right hand; bat with the left hand when 
the right foot is in advance. 



52 SCIENCE AND ART OF ELOCUTION. 

EXERCISES FOR GESTICULATION. 

Ease and grace should characterize the move- 
ments of the arm and hand. One hand should not 
be used exclusively in gesticulation. An alternate 
use of the right and left hand betrays the novice in 
oratory. The right is naturally employed more 
frequently than the left. Gestures should some- 
times be made with two hands. While they embody 
the same significance as single gestures, they may 
be used for variety and greater effect. 

A careful practice on the following exercises will 
abundantly repay in ease and grace of movement. 
The words up, down, high, low, and numbers may af- 
ford advantageous practice in gesture. Repeat the 
words up ! down ! high ! low ! using the left hand 
on high and the right hand on the others. Also 
count one, two, three, four, five, six, etc., using the left 
hand on each third word and the right on the 
others. These gestures may be descending front, 
horizontal f ron t, ascending front, descending oblique, 
horizontal oblique, ascending oblique, descending- 
lateral, horizontal lateral, ascending lateral, descen- 
ding back, horizontal back, and ascending back. 
These are abbreviated thus : D. F., descending 
front ; H. F., horizontal front ; A. F., ascending 
front ; D. O., descending oblique ; H. O , horizontal 
oblique ; A, O., ascending oblique ; D. L., descen- 
ding lateral ; H. L., horizontal lateral ; A L., ascen- 
ding lateral ; D. B., descending back; H. B , hori- 
zontal back ; A. B., ascending back. Gestures are 
made most frequently with the right hand palm up. 



GESTURE. 53 



D. 


F. 


H. 


F. 


D. 


0. 


A. 


0. 


H. 


L 


D. 


F. 


A 


F. 


H. 


0. 


H 


B. 



The following exercises should be carefully prac- 
ticed. 

Right Hand Peone. 

Crush such a vicious traitor. 

Check the ignoble wish. 

Let all who love America repress the doctrine. 

God, withhold thy just wrath. 
The clouds of adversity cast their shadow. 

over his prosperity. 

Right Hand Supine. 

This doctrine I will hold to the end of life. 

1 appeal to my Heavenly Father for the in- 
tegrity of my motive. 

Truth, integrity, justice encased him. 

Read the records of the remotest nations for an 
example like this. 

H. L. The light wind wafted perfume on the air. 

* 
Right Hand Vertical. 

H. F. Soldiers, meet and repel the enemy. 

A. F, Forbid it Almighty God ! 

H. O. His shield warded off the spear. 

H. B. Begone, hideous wretch. 

Both Hands Prone. 

D. F. Lie lightly on his noble form. 

H. F. May the blessings of a good mother rest on 

thee. 
A, F. We praise thy name, O Lord. 
D. O. Man is but as a worm of the dust. 
A. O, Let the rays of the sun play on its granite 

brow. 



54 SCIENCE AND ART OF ELOCUTION. 



H 


L. 


A. 


L. 


D. 


F. 


A. 


F. 


D 


0. 



Sail around the rocky crag. 

Jerusalem opened wide her gates of pearl. 

Both Hands Supine. 

He laid away all ill-feeling. 

Hail ! thou lord of day. 

He surrendered all to the common weal. 

Both Hands Vertical. 

H. F. Go hence, vile man. 

A. F. Cover your faces, holy angels ! 

A. O. Angels of heaven, save us ! 

A. L. May such doubts vanish. 

The gestures given under right hand prone, right 
hand supine, and right hand vertical may be prac- 
ticed with the left hand also. More could be given, 
but those illustrated above will serve the purposes 
of practice. 



LECTUBE VI. 



The Essential Qualifications of 
An Orator. 



(Delivered to tho Demostheno-Websterian Oratorical College 
Class of the Y.N. C.I.) 



"lean conceive of no accomplishment more to be desired 
than to be able to captivate the affections, charm the under- 
standing, and direct or restrain, at pleasure, the will of whole 
assemblies." — Cicero. 

"Magna eloquentia sicut fiamma ; materia alitur et motibus 
excitatur et urendo clarescit." — Tacitus. 

"Great eloquence is as a flame ; it is fed by fuel and aroused 
by motion and brightens in burning." 

"Always prepare, investigate, compose a speech pen in hand." 

— Rufus Choate. 

There are some who claim that the orator is born, 
not made, and that no amount of intellectual work 
can qualify one as such. This statement embodies 
some truth and some error. While the highest 
flights of oratory are, no doubt, much indebted to 
native powers, assiduous study and continued prac- 
tice are equally essential to it. Students of ancient 
orators and oratory are well aware that the great 
orators of Greece and Rome expended the greatest 



56 SCIENCE AND ART OF ELOCUTION. 



effort in perfecting themselves in the art of eloquence. 
But we need not refer to the diligence and perse- 
vering toil of Hyperides and Hortensius, of De- 
mosthenes and Cicero, for the biographers of Pitt, 
Fox, and Mirabeau, of Sumner, Phillips, and Everett 
assure us that our great modern orators were noted 
for their close application to intellectual pursuits. 

While we may admit that no amount of study of 
oratorical rules can enable one devoid of oratorical 
powers to become a great orator, the history of 
public speakers, lecturers, and pulpit orators abun- 
dantly proves that such study is an indispensable 
aid to all who wish to present their views on any 
subject in a clear, forcible, convincing manner. A 
careful consideration of the leading characteristics 
of graceful and effective oratory, as revealed in the 
lives of the world's famous orators, imparts a know- 
ledge of its principles and art. When one possesses 
this knowledge, he is, at least, in the "royal road' ; to 
pleasant and effective reading and speaking. 

Firstly, A Sound Body. 

The orator should possess a strong healthy body. 
The nature of his art demands this. He must at 
times speak for hours in succession. While speak- 
ing, he frequently employs every muscle and limb, 
and, when he has completed his discourse, he is 
more or less exhausted. To meet the constant 
wear and tear of his calling, he needs a vigorous 
constitution. 

The history of eloquence reveals to us the fact 
that, as a general rule, the most powerful speakers 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 57 



were men of bodily vigor. They had a sufficiency 
of physical stamina to hurl the catapults of their 
thoughts with such force as to break down the walls 
of opposition. That brilliant debater, Fox, was of 
large mould, and Brougham possessed a body so 
flinty that it stood the storms of public life for 
eighty years. What shall we say of the iron con- 
stitutions of the eloquent Mirabeau and the match- 
less Webster, whom Sydney Smith described as "a 
steam-engine in breeches ?" Were not the patriot 
O'Connell, bold John Bright, and the scholarly 
Chalmers men of massive frame ? Gladstone and 
Blaine, Ingersoll and Frederick Douglass, Bishops 
Arnett and Derrick are men of massive frame and 
good digestion. Whether we contemplate the mas- 
ters of the bar, the leaders of politics, or the ruling 
spirits of the pulpit, we find that they are, for the 
most part, men of brawny physique and great vi- 
tality. 

While some renowned orators are not endowed 
with large physical constitutions, they have, at least, 
active, healthy bodies, Though they may be of 
small stature, they are noted for their remarkable 
endurance. Dr. William Matthews says, ."Even 
those orators who have not had giant frames have 
had, at least, closely-knit ones, — the bodily activity 
and quickness of the athlete." The renowned Lord 
Erskine belonged to this class. The distinguished 
Gurran possessed such physical endurance that he 
could, after a session of sixteen hours with a slight 
intermission, deliver a powerful argument before a 
jury. The brilliant John M. Langston is noted for 



58 SCIENCE AND ART OF ELOCUTION. 



agility and great endurance, and the same qualities 
characterize Walter H. Brooks, Joseph 1C. Jones, 
and John C. Dancy. While a majority of the most 
distinguished orators, who figure conspicuously in 
law, politics, education, and religion, are men of 
brawny physique and great vitality, a good many of 
them are endowed with small or medium-sized 
physical frames of much vitality. 

The instructive history of orators supplies us 
with a few remarkable examples of men of weak, 
unhealthy bodies who rose to supernal heights in 
oratory. Richard Lalor Sheil possessed a small 
frame and a shrieking voice, and yet he elec- 
trified the Irish people by his silvery eloquence. 
The matchless feats of the oratory of Summerfield 
read like a romance ; and yet he was sickly all his 
life, and, at last, died of consumption. The re- 
nowned Alexander Stephens was carried into the 
U. S. Senate in his chair ; but, when he addressed 
that august tribunal, his rhetoric was a whirlwind, 
his logic was a flame. The greatest orator of the 
early church, the Apostle Paul, was weak in body, 
but his logic and eloquence were well calculated to 
delight and move all classes of people. These men 
were remarkable exceptions to the general rule. 
Other elements of oratory were so deeply embedded 
in their souls that men forgot for a time their gaunt 
figure, shrill voice, and uncouth action. 

Secondly, A Cultivated Voice. 

A cultivated voice is a great assistant to a speaker. 
The necessity of paying especial attention to it ap- 



THtf ESSENTIAL QUALIFICATIONS OF AN ORATOR. 59 



pears from the fact that it is the great instrument 
of speech. When it is harsh, shrill, or indistinct, 
the ideas advanced lose much of their force. When 
it fails a public orator by virtue of being diseased 
or easily wearied, the desired effects of a great ef- 
fort may be completely neutralized. This Aeolian 
harp should be so trained that it becomes clear, 
distinct, strong, and capable of all the inflections 
and modulations necessary to a full expression of 
all thoughts and feelings. 

It is an interesting fact that many of the most re- 
nowned speakers have been greatly indebted to the 
wonderful power of this instrument for much of 
their success. The imperious William Pitt owed 
much of his influence in the British Parliament to 
the clearness and melody of his voice, A noted 
writer affirms that Mirabeau governed the tumult- 
uous assemblies of France more by the thunder of 
his throat than by the lightning of his thought. 
The voice of Henry Clay was as musical as Apollo's 
lute, and easily won the sympathy of his audience. 
Who can describe the wonderful effect of the deep, 
sonorous flexible voices of O'Connell, Webster, and 
Douglass? The magical voice of the illustrious 
James G. Blaine was one of the secrets of his win- 
ning magnetism. The voice of Professor B. T. 
Greener is clear and musical ; that of Bishop Ar- 
nett, deep and resonant. John C. Dancy's voice 
has a penetrating, trumpet-like scund, and that of 
Bev. Anderson Tajdor, has the sweetness of a 
Dorian flute. 

The question, How should the voice be cultivated? 



60 SCIENCE AND AKT OF ELOCUTION. 

is answered in the preceding portion of this work 
in the "Science and Art of Elocution." It may not 
be out of place for me to state that special attention 
should be paid to articulation in as much as the 
evil effects of a weak or husky voice may be fre- 
quently offset thereby. It is said that the famous 
actor, Monvel, did not even possess teeth ; notwith- 
standing this fact his articulation was so excellent 
that he was a general favorite, Demosthenes had 
very defective organs of speech. His voice was 
iveak, and he frequently stammered in speaking. 
He cured his defects by speaking with pebbles in 
his mouth and declaiming on the sea-shore. These 
and other cases which might be mentioned should 
encourage those of defective organs of speech to 
improve themselves. When we remember that the 
distinguished actor, Kean, zealously labored to 
remedy the bad effects of a feeble voice, and that 
Talma by long practice cured himself of indistinct 
articulation, certainly any one with energy and de- 
termination should not despair of success. "Labor 
omnia vincit." ("Labor conquers all things.") 

Thirdly, Well-Disciplined Faculties. 

Well-disciplined mental powers are indispensable 
to an orator. His perceptive faculties should be 
acute, his memory tenacious, and. his judgment ac- 
curate and discriminating. His imagination and 
fancy should be active and fertile, and his reason 
should be strong and vigorous. Not only should 
each and all of those powers of the mind be well- 
trained, but they should be under such masterly 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 61 



control that they may be employed at any instant 
the orator may desire to use them. In order to 
achieve this readiness in the use of the mental 
powers, he who aspires to oratorical excellence 
should be well acquainted with the nature, laws, and 
modes of development of all the intellectual fac- 
ulties. 

Yiscount Bolingbroke, who, according to the tes- 
timony of Lord Brougham, "must be pronounced to 
stand upon the whole at the head of modern or- 
ators," excelled in acute perception, a logical un- 
derstanding, and a tenacious memory. Lord Chat- 
ham, the elder William Pitt, surpassed in a 
vigorous imagination, while the younger Pitt was 
gifted with a powerful reason and quick perceptive 
faculties. Charles James Fox was the happy 
possessor of strong and acute perceptive powers 
and a vigorous reason. Among our own great or- 
ators, Calhoun was blessed with an acute and vig- 
orous reason, Clay, with a discriminating judgment, 
and Webster, with a teeming imagination and a 
vigorous understanding. John M. Langston excels 
in acute perception and a fertile imagination. Fred- 
erick Douglass is the happy possessor of a solid 
judgment. Bobert B. Elliott and Samuel Ward dis- 
played an active imagination and a vigorous reason. 
Few orators have equaled George W. Williams in 
strength of memory and discrimination of judg- 
ment. 

Fourthly, Special and General Knowledge. 

A speaker should be well informed on the subject 



62 SCIENCE AND ART OF ELOCUTION. 

of his discourse ; in fact, his mind should compre- 
hend it in all its details. Socrates affirmed, "All 
men are sufficiently eloquent in what they under- 
stand," He might have more truthfully said that 
no one can be eloquent on a theme on which he is 
not well informed. A man may possess the polish 
of Canning, the learning of Burke, and the energy 
of Mirabeau, but those superb qualities do him 
little service if he convinces his audience that he is 
poorly enlightened on his subject. It is needless to 
state that the kings of the senate and the forum of 
all ages zealously and studiously aimed to thorough- 
ly equip themselves whenever they addressed the 
court, the senate, or the people. 

General Knowledge. 

A study of the lives of great orators reveals the 
interesting fact that they were the possessors of great 
knowledge. An orator should be doctissimus vir, a 
most learned man. He who would rise to the Alpine 
summit of oratory should be inspired by the 
scholarly motto of Bacon : "All knowledge is mine.'' 
His knowledge should embrace the leading prin- 
ciples and facts of ancient and modern history, 
mathematics, mental and moral philosophy, law 
and the social, political, and religious institutions 
under which he lives. To acquire correctness of 
speech, clearness, force, and beauty of expres- 
sion, and ability for correctly weighing an argu- 
ment, he should thoroughly understand grammar, 
rhetoric, and logic, 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 63 



A study of the lives, habits, and speeches of the 
best speakers is highly conducive in imparting in- 
spiration in the oratorical art. Grattan was ac- 
customed to attend Parliament to hear the burning 
eloquence of Chatham, That knowledge of words 
and sentences which is derived from a translation of 
Latin, Greek, or a modern language into English is 
especially serviceable to a speaker. Writing is in- 
dispensable to an orator. To the polished and 
suave Choate, the pen was a constant companion. 
O'Connell and Webster were delightful and in- 
structive conversationalists. The knowledge which 
springs from conversation is very serviceable to a 
speaker. To this general information should be 
joined a knowledge of the fact that an audience 
admires ease and self-posse£sion in a speaker, and 
is impatient with one who has little or no confidence 
in himself. 

The grave necessity for this special and general 
knowledge is evident when we remember that a 
given subject often demands for its elucidation some 
information derived from the above mentioned 
sources. It is well to hold in mind, too, that an 
audience is more deeply interested in the thoughts 
of a man who is Lnown to be an exact and thorough 
scholar. Nor are we in want of illustrious examples 
of learned orators. The immortal Demosthenes and 
Cicero were men of much learning. Brougham 
was cyclopaedic, and so were Fox and Burke, 
Daniel Webster and Wendell Phillips were thor- 
oughly educated, and delighted in general knowl- 



64 SCIENCE AND ART OF ELOCUTION. 



edge. Hon, George W. Williams was a man of 
cyclopaedic learning, and Robert Brown Elliott 
was a scholar of the ripest kind. No well-informed 
man questions the learning and scholarship of W. 
B. Derrick, J. E. Jones, A Binga, H. H. Mitchell, 
Z. D. Lewis, Alexander Crummell, and Frank J. 
Grimke, and Rev. George Howard. 

Fifthly, Wit and Humor, . 
A capability of displaying wit and humor may 
greatly assist an orator. I come to this conclusion 
partly from my own experience in addressing 
audiences, but chiefly from the fact that many of the 
great orators possessed the faculty of ridicule, sar- 
casm, and pleasantry to a remarkable degree. It is 
said that the polished irony of Canning and the 
sarcasm of Pitt greatly aided them in overcoming 
opposition. Under the rose leaves of the eloquent 
rhetoric of Disraeli was concealed the viper of ridi- 
cule. Some of our Colored-American orators 
evince to a high degree the power of wit and 
pleasant humor. The refined sarcasm of R. T. 
Greener, the bold invectives of H. M. Turner, and 
the sunlight humor of J. C. Price and E. E. Smith 
add much to their public speeches. A public 
speaker may acquire by persevering study a good 
command of wit and humor. For their highest ex- 
hibition, there must exist innate talent. iEsop's 
Fables, Arabian Nights, the works of great humor- 
ists, and striking anecdotes of distinguished men 
may be made great aids in developing this talent. 
Witty and humorous sayings and anecdotes should 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 65 

not be so used as to wound men's feelings, en- 
courage levity, or mock at religion. They should 
aid the orator in informing the intellect, moving 
the feelings, and directing the will. 

Sixthly, Force and Feeling. 

Of all the qualifications of oratory, none, perhaps, 
is more essential than force, which may be denned 
as that energy with which a speaker employs his 
various powers to make an audience feel what he 
says. This energy should spring principally from 
deep feeling and intense earnestness. It is the ex- 
pression of his inmost character. When the orator 
is swayed by this physical and intellectual energy, 
he impresses upon his listening audience the ideas, 
emotions, and affections which burn in his own soul. 

The intense earnestness of Demosthenes received 
its life from his almost superhuman energy. The 
matchless victories of Brougham, who was weak in 
his logic and careless in his statements, were due 
mainly to his gladiator-like power. Intense vigor 
characterizes the addresses of "Webster, Clay, Blaine, 
Beecher, and Gladstone, John M. Langston and 
John C. Dancy speak with the agony of Erskine. 
Frederick Douglass and H. M. Turner exhibit great 
force. Mirabeau who guided the storm of the 
French ^Revolution was, perhaps, the most vehe- 
ment speaker who ever addressed a popular as- 
sembly. 

Force in speaking may be greatly enhanced by 
gesture of hands, movement of body, and gaze of 
eyes. Interrogation, exclamation, and brief and im- 



66 SCIENCE AND ART OP ELOCUTION. 



pulsive apostrophe also greatly aid a speaker. 
Energy may also be augmented by a careful se- 
lection in the number and arrangement of words. 
The greatest force, however, comes from a deep 
feeling, an unquestioned earnestness. Sheridan 
once said, "I go to hear Kowland Hill because his 
ideas come red hot from the heart," Dr. William 
Mathews well said, "Force is the life of oratory, 
which gives it breath and life and power. It is the 
electrical element — that which unites, penetrates, 
and thrills/' 

Seventhly, A Noble Character 

"In all thy ways acknowledge Him, and He shall direct thy 
paths." — Solomon in Proverbs iii : 6. 

Ancient and modern rhetoricians agree that a 
good character has much weight with an audience. 
Quintilian, that erudite rhetorician of Rome, de- 
clared that goodness is an essential attribute of an 
orator. So high an authority on oratory as Dr. 
William Mathews says, "There is no doubt that a 
reputation for integrity gives to an orator's words 
a weight and potency which he cannot afford to 
despise." What thoughtful person has not ob- 
served that a preacher, advocate, or public speaker 
whose actions are inconsistent with his words has 
little influence with his fellow-men ? Demosthenes 
was more indebted to his reputation for integrity 
and patriotism for his signal victory over the bril- 
liant Aeschines than to any other agency. 

He who would exert strong and lasting influence 
with his fellow men should entertain and cultivate 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 67 



noble thoughts, pure affections, and laudable de- 
sires. He should be recognized as a person of 
truthfulness and honesty. The inaccuracy of 
Brougham and the dishonesty of Themistocles de- 
tracted from their public influence. Phocion's 
reputation for honesty often offset the brilliant ora- 
tory of his foes. He who impresses his hearers 
that he speaks and pleads for their benefit cannot 
fail to exert some influence with them. The great 
orators had the reputation of being great patriots. 
It was this which more than anything else added 
power and fame to Pitt, Webster, Calhoun, and 
Blaine. 

The orator should supplement these moral 
qualities with respect and veneration for the prin- 
ciples and institutions of the religion of his people. 
Demosthenes, in his famous oration on the crown, 
often referred to the gods of the Athenians, and 
Cicero, in the peroration of his first oration against 
Catiline, earnestly expressed his confidence in the 
supreme god of the Romans in these words : "Tu, 
Juppiter, hunc et hujus socios a tuis ceterisque tem- 
plis, a tectis urbis ac moeuibus, a vita fortunisque 
civium arcebis." The translation of these words is: 
Thou, O Jupiter, wilt ward off this man and his allies 
from your temples and those of others, from the 
roofs and walls of the city, from the lives and for- 
tunes of the citizens." The leading orators of 
England and America with a few exceptions were 
men who respected to some degree the claims of 
our common Christianity. Many of them were pro- 
fessed followers of the cross, and others frequently 
attended Christian worship. 



68 SCIENCE AND ART OF ELOCUTION. 



Some General Kemarks. 

We must not suppose that the qualifications 
mentioned have never been found in any one orator. 
While they may never have existed in one person 
in all their entirety and fulness, yet some ancient 
aud modern orators embodied to some extent all of 
them. It is true that some orators excelled in some 
excellencies, and others surpassed in others ; and 
yet good health with a pleasing voice, well-dis- 
ciplined faculties, abundant knowledge relieved by 
wit and humor, deep feeling evinced by sufficient 
force, and a reputation for an ordinary good char- 
acter have been the striking characteristics of the 
majority of the favored sons of eloquence. Even 
those few renowned orators who were deficient in 
some of the qualities mentioned would have exerted 
greater influence if they had possessed all. 

In thus describing these leading qualifications of 
the orator, we do not desire to convey the impression 
that true eloquence can be attained by a mere study 
of them by one who is devoid of some natural talent 
for speaking. Lofty oratory, like music, sculpture, 
and painting, is primarily a gift of the Creator. 
That gift must be watched and cultivated to pro- 
duce the richest fruits. Those who possess this 
inborn talent for eloquence are exceedingly few ; 
the great mass of mankind do not and cannot pos- 
sess it : nevertheless the average person may by 
diligence and application become an orator of in- 
fluence and power. 

Therefore, let no one despair because he fears that 



THE ESSENTIAL QUALIFICATIONS OF AN ORATOR. 69 

he is not the happy possessor of this innate talent, 
for of ten this God-given power is only revealed by 
careful and systematic study, practice, and ex- 
perience. Then again, even if one does not possess 
this inborn genius of a real orator, he will, by aim- 
ing to perfect himself in these qualifications, greatly 
improve in his ability to please, move, and convince 
an audience. He may not become a Cicero, a Web- 
ster, a Gladstone, or a Conkling, and yet he maybe- 
come a clear and effective speaker. We heartily 
concur in the statement of Lord Chesterfield that 
"any one of fair ability may be an orator ; that is, a 
pleasing and forceful speaker." 



LECTUEE VII. 



METHODS OF TEACHING 
ORATORY. 



(Used with the Demostheno-Websterian Oratorical College 
Class.) 



"Let them enjoy their persuasion who think that to be born 
is sufficient to make a man an orator: they will pardon our la- 
bor who think that nothing can arrive at perfection unless when 
nature is assisted by careful cultivation." — Quintilian. 

"The heart must glow before the tongue can gild." 



I. A Method of Teaching Essays and Orations. 

Sometimes members select their own subjects ; 
at other times, subjects are given to them. They 
are advised to read books and papers bearing on 
their different subjects. After reading on them, 
they prepare and present to me neatly arranged 
outlines of them. I carefully examine each skele- 
ton in the presence of the student, who states to me 
the general ideas and illustrations which he pro- 
poses to advance under each head. I then make 
whatever corrections or suggestions I deem neces- 
sary. 



METHODS OF TEACHING ORATORY. 71 

The student then writes Lis oration or essay in 
accordance with the approved outline. As soon as 
it is finished, he presents it to me. I then, in his 
presence, carefully examine every sentence, making 
all necessary suggestions and corrections. He then 
re-writes it carefully, correcting all errors and mak- 
ing such insertions or omissions as suggested ; after 
which it is again handed to me when I again exam- 
ine w T ith care all matters of punctuation, capitaliza- 
tion, spelling, the formation of sentences, historic 
data, ideas advanced, and, in fact, everything of any 
consequence. He again corrects it, and hands it to 
me for a final examination. Much of the labor of 
correcting essays or orations is now saved by the 
help of two of the most advanced students who, af- 
ter I have examined the skeleton with the student, 
correct all errors in his presence. The student then 
brings a corrected copy to me. I then see that all 
errors are expunged. 

II. Instruction in the Science and art of Elocution. 

The whole class received sj^stematic instruction 
in the science and art of elocution. I gave prepared 
lectures on vocal culture, articulation, expression, 
and gesture. The students were collectively and 
individually drilled in these fundamental principles. 
As soon as an essaj^ or oration was prepared, he 
was drilled with reference to its proper expression. 
He expressed for me each sentence, using the 
gesture or gestures which seemed appropriate to 
himself. I would then make all necessary cor- 
rection in voice, force, time, emphasis, or gesture, 



?2 SCIENCE AND ART OF ELOCUTION. 



repeating the sentence as I thought its idea de- 
manded ; after which he repeated it correctly, I 
would thus proceed until I had rehearsed him 
through the entire discourse. Thus he was led to 
thoroughly analyze his essay or oration. 

I found it helpful to the student to mark em- 
phatic words with one line under them, those more 
emphatic with two lines, and the very emphatic 
ones with three. I frequently marked the portions 
which were to be delivered in a conversational voice 
and those which were to be rendered in a lower or 
more rhetorical tone. At the first rehearsal, I fre- 
quently practiced and drilled a student on about 
two pages of his oration or essay, and urged him to 
carefully practice himself on them before meetiug 
me again. At the next rehearsal, I reviewed him on 
the pages studied, and drilled him on about 
two or three more. After he had carefully 
committed these four or five pages and practiced 
himself on them, I gave him another rehearsal on 
three more. I thus continued until he was thorough- 
ly drilled on the whole production. I then gave 
him about two more rehearsals, making about six 
rehearsals in all. Much of the labor of rehearsing 
students is now done by two of the most advanced 
members of the class, but I always personally drill 
the members of the Junior and Senior College 
Classes. 

III. Class Exercises. 

1. Original Exercises. About once in three or 
four weeks, one of the divisions read essays, gave a 



METHODS OF TEACHING ORATOEY. 73 



debate, and delivered orations. These productions 
were supposed to be of a superior kind. At the 
opening of the class several critics were appointed 
for the purpose of offering scholarly criticisms on 
voice, articulation, pronunciation, force, time, em- 
phasis, and gesture of the reader or speaker. Each 
critic delivered his criticism immediately after the 
speaker or reader was seated. If the critic gave 
unjust or untrue criticism, I corrected him, and re- 
ferred to the merits or demerits of the delivery. 
This kind of exercise enabled them to apply their 
knowledge of elocutionary principles. 

2. Selections and Extemporaneous Exercises. On 
some occasions, certain ones would commit choice 
selections from some noted writers and speakers. 
These selections would embody poetry and prose. 
They would train themselves, and then deliver their 
selections in the presence of the class, receiving 
needed corrections. When I deemed it expedient to 
do so, they would deliver these criticised selections 
about a week or two afterward. 

About once a term, I had an extemporaneous ex- 
ercise on current religious, social, educational, and 
political topics. Remarks on these occasions would 
be limited to five minutes unless they were ex- 
ceptionally good ; in that case, more time was given. 
Both of these exercises were highly conducive in 
inspiring the young men with self-confidence. 

3. Day for Humor and Poetry. About once a 
term, one exercise was devoted entirely to humor. 
Each member came prepared to tell some humorous 



74 SCIENCE AND ART OF ELOCUTION. 



story or fable and show what thought it illustrated. 
The question which I held before their minds was, 
What service may an orator make of stories, fables, 
and general witticisms? I called their attention to 
noted men who were in the habit of employing 
humor and wit in their speeches. They were taught 
that humorous incidents or stories should not be 
told to encourage levity or mock at religion, but 
that they should serve a legitimate end to an 
orator. They were encouraged to read iEsop's 
Fables and the works of noted humorists. 

One exercise a term was also given to poetic se- 
lections with the intention of showing how poetry 
may assist a speaker. Each member of the class 
quoted from memory a few poetic lines. He was 
then urged to show what thought it was calculated 
to beautify or enforce. Attention was also called to 
the fact that many great orators delighted to read 
Virgil, Shakespeare, Milton, Longfellow, and other 
celebrated poets, and that such reading tends to 
develop thought and beautify language. In pre- 
paring essays and orations, they applied their 
knowledge by embodying with discretion some 
story or poetic stanza in their composition. 

4. Day for Spelling and Articulation. About 
once' a month, one exercise was devoted to spelling 
and articulation About twenty-five or thirty 
lessons in Heed's Speller were carefully studied 
with reference to the elementary sounds of the 
words. They were thus taught that distinct artic- 
ulation and correct pronunciation are great assist- 



METHODS OF TEACHING ORATORY. 75 

ants to an orator. I aimed to show them that no 
one can reasonably hope to have a good knowledge 
of the English language unless he is a careful and 
systematic student of a standard dictionary. This 
instruction greatly assisted them in the power of 
articulating, pronouncing, and spelling correctly. 

IY. Courses of Lectures. 

During the fall and winter terms, I usually de- 
livered to the class prepared lectures on some of the 
world's great orators. Discourses covering the 
most salient features of Grecian and Eoman oratory 
were delivered. I aimed to show the general and 
special qualifications of the great orators of an- 
tiquity. The leading qualities of the oratory of 
Themistocles, Pericles, and Gorgias ; of Antiphon, 
Lysias, and Isocrates ; of Demosthenes, Hyperides, 
and Aeschines were carefully explained and freely 
discussed. The growth and power of Eoman elo- 
quence was also traced in the lives and speeches of 
M. Porcius Cato, Caius Gracchus, and M. Antonius; 
of L. Crassus, Q. Hortensius, and Cicero ; of Julius 
Caesar, Pollio, and the younger Pliny. 

After a course of four lectures on Grecian and 
Eoman orators, ten lectures were delivered on 
English, French, and American oratory. I shall 
never forget the intense interest displayed by the 
class as they listened to short descriptions of match- 
less Bolingbroke, fiery Chatham, and argumentative 
Fox ; of earnest William Pitt, learned Brougham, 
and imaginative Burke. The leading oratorical 



76 SCIENCE AND ART OF ELOCUTION. 



characteristics of these together with those of Sher- 
idan, Grattan, and O'Connell were clearly delineated. 
Many interesting and instructive facts were brought 
out in explaining the striking and forceful eloquence 
of Mirabeau, Rochambeau, and Massillon ; of Cal- 
houn, Clay, and Webster ; of Phillips, Sumner, and 
Blaine. Nor was I unmindful of that high order of 
oratory which has been displayed on so many 
occasions by distinguished Colored-Americans 
Four lectures were devoted to an investigation of 
the leading characteristics of the style of Douglass, 
Crummell, and Langston ; of Elliott, George W- 
Williams, and Price ; of Walter Brooks, Arnett, and 
Bishop Hood ; of John Mitchell, John Smith, and 
Grimke ; of E. E. Smith, Scott W T ood, and others. 

I aimed to deduce from the history of leading 
orators the chief qualities of effective oratory. The 
class took copious notes on the various lectures, and 
were advised to imitate the excellencies and avoid 
the defects of the great orators of whom they had 
learned. I am convinced that the course of lectures 
imparted inspiration to the class, enabled them to 
mould thought in the light of hicjh ideals, and 
greatly improved them in the art of speaking. 



LECTURE VIII. 

SOME SUBJECTS WITH THEIR 
OUTLINES. 



"Recollect that trilles make perfection, and perfection is no- 
trifle.'' — Michael Avc/elo. 



It may prove helpful -to students in selecting sub- 
jects and forming outlines to have before them as 
examples some subjects with their framework. The 
following subjects were selected from graduating 
orations prepared by Senior College students, whose 
names appear in connection with them My aim 
Avas to present the subjects of all the graduates of 
the College Department, but the orations of two 
could not be found. The reader must remember 
that these outlines, or skeletons were formed by the 
student after he had gained by reading and think- 
ing the desired knowledge for his subject. The 
skeleton was then carefully examined by the in- 
structor in the light of the principles and facts which 
the student proposed to consider urn In- each division. 

Rhetoricians usually treat an essay or oration in 
three parts — the introduction, or exordium, the dis- 
cussion, and the conclusion, or peroration. The in— 



78 SCIENCE AND ART OF ELOCUTION, 



troduction, or exordium should aim to prepare the 
hearer for the ideas to be advanced. Tt should 
generally be brief and agreeable. The discussion 
should embody whatever principles, facts, and illus- 
trations the writer or orator intends to state. It 
should be divided into such sub- topics as will best 
convey the ideas presented, and they should be ar- 
ranged in an order at once logical and clear. The 
conclusion, or peroration should recapitulate the 
discussion, draw an inference from it, or make an 
application of some idea contained in .it. The fol- 
lowing subjects with their framework will more fully 
show the three essential parts of an essay or an ora- 
tion. 

(1.) SYSTEM ESSENTIAL TO PKOGBESS 

IN SCIENCE. 

(By Alexander Dickerson ) 

TOPICAL OUTLINE. 

I. Introduction. Definition of System and 
.'Science. 

II. Discussion. 

1. System essential to progress, 

2. System has enabled men to progress in dif- 
ferent sciences. 

3. Great Jeaders of all kinds of knowledge have 
been systematic in study. 

III. Conclusion, An exhortation to work in a 
svstematic manner. 



SOME SUBJECTS WITH THEIR OUTLINES. 79 



(2.) THE GENIUS OF OUR CIVILIZATION. 

(By Robert G. Chissell.) 

FRAMEWORK. 

I. Introduction. Civilization defined. 

II. Discussion. 

1. A comparison of ancient and modern civiliza- 
tion, 

2. The principal characteristics of the present 
civilization. 

3. The fruits of our civilization. 

(a.) Civil and religious liberty, (b.) Individual 
and national progress (c.) The progress of the 
women of our country. 

III. Conclusion. We are advancing. 

(3.) TWENTY-EIGHT YEARS OF FREEDOM. 

(By Emmet Fitzgerald.) 

SYNOPSIS. 

I. Exordium. The condition of the Colored 
People when liberated. 

II. Discussion. 

1. Their progress in population, industry, moral- 
ity, religion, business, and the professions. 

2. How they may attain their highest devel- 
opment. 

III. Pkroratton. A summary and an appeal. 



80 SCIENCE AND ART OF ELOCUTION. 



(4.) CONSCIENCE— ITS NATURE AND FUNC- 
TIONS. 

(By Charles D. Haynes.) 

FRAMEWORK, 

1. Exordium. Conscience defined. 

II. Discussion. 

1 Conscience is original and universal. 

2. It is capable of training. 

v>. It is a supreme judge, and should be obeyed. 

III. Peroration. It is a strong evidence of the 
existence of God. 

(5.) THE VALUE OF A CLASSICAL EDUCA- 
TION, 

(By Hubert H. Hunter.) 

TOPICAL OUTLINE, 

1. Introduction. The definition of a classical 
-education. 

II. Discussion. 

"1. It adds greatly to our general knowledge. 

2. It broadens our knowledge of the English 
language. 

3. It disciplines the intellectual faculties. 

4. It better prepare us for the various duties of 
life. 

III. Conclusion. Their hold upon the world, and 
an appeal to highly value them. 



SOME SUBJECTS WITH THKIR OUTLINES. 81 



(6.) THE TREND OF AMERICAN THOUGHT. 

(By David L. Hawks.) 

SYNOPSIS. 

I. Exordium. A definition of the subject, 
IT. Discussion. 

1. Our international relations regarding peace 
with all nations and American dignity should be 
guarded. 

2. Protection benefits American labor, and free- 
trade injures it. 

3, Mobs and lynch -law are dangerous to our in- 
stitutions. 

4, Honest elections preserve the liberty of the 
masses. 

6. Race antagonisms should be discountenanced. 
III. Peroration. The future of our Country. 

(7.) THE EVILS THAT MENACE OUR RE- 
PUBLIC. 

(By W. H. Hughes. Jr.) 

FRAMEWORK, 

I. Introduction. We are inclined to think that 
our country is free from serious dangers. 
' II. Discussion. 

1. The power of the whiskey traffic. 

2. Wealth with luxury fosters corruption of the 
body politic. 

3. Immigration is the parent of anarchy, mor- 
monism, and much crime. 

4. The general effect of these evils. 

III. Conclusion. The removal of these evils is 
a patriotic duty. 



82 SCIENCE AND ART OF ELOCUTION. 



(8.) SEPARATION OF CHURCH AND STATE 
ESSENTIAL TO A NATION'S PROSPERITY. 

(By Josiah C. Robertson ) 

TOPICAL OUTLINE 

I. Exordium. Church and state defined. 

II. Discussion. 

1. The effect of church and state union in France,. 
Spain, and England. 

2. Church and state separation is a cardinal 
doctrine of our government. 

3. Freedom of Worship Bills aim to bring about 
church and state union. 

4. Peroration. The duty of American citizens 
to oppose such legislation. 

(9.) SOME SOCIAL INSTITUTIONS— THEIR 
EFFECT UPON THE REPUBLIC. 

(By Aniasa Knox.) 

SYNOPSIS. 

I. Introduction. The seed of our Country's pro- 
gress. 

II. Discussion. 

1. The establishment, growth, and effect of 
Schools, 

2. Home is the foundation of society. 

3. Business marts bring about material pros- 
perity. 

4. The Church is the true foundation of govern- 
ment. 

III. Peroration. Republics live by virtue. 



SOME SUBJECTS WITH THEIR OUTLINES. 83 



(10.) LIBERTY VERSUS LICENSE. 

(By Elliott S. Pogue.) 

FRAMEWORK. 

I. Introduction. 

II. Discussion. 

1. License in political affairs. 

2. Liberty and license in religion. 

3. License in society and the home, 

4. Lessons from history. 

III. Peroration. License must be eliminated. 

(11) DANGERS THREATENING OUR RE- 
PUBLIC. 

(By Walter P. Steptoe.) 

OUTLINE. 

I. Introduction. Our success and danger. 

II Discussion. 

The causes hastening the downfall of our country: 
{a) Immigration., (b.) Anarchy, (c.) Pauper- 
ism, (d ) Avarice. 

III. Peroration. A sure remedy. 

(12.) FOrBLES OF CIVILIZATION. 

(By George Booker.) 

SYNOPSIS. 

I Introduction. My impression. 

II Discussion. 

1. Social foibles and their evil result. 
% Religious hypocrisy is a bane. 
3. Our educational system suffers from existing 
evils 

III. Conclusion. The blessings nf virtuous living. 



84 SCIENCE AND ART OF ELOCUTION. 

He who wishes to prepare readable essays or arti- 
cles should syztematically pursue the method given. 
He should, after selecting a subject, carefully find 
diligently obtain ail information possible bearing on 
it. When he is gathering such knowledge, he 
should freely take notes. A logically-arranged 
framework embodying the introduction, the dis- 
cussion, and the conclusion should be formed. The 
outline should be comprehensive enough to embrace 
all points to be discussed. The essay or article 
should be then written in accordance with the 
framework. When one thus prepares a discourse, 
he evinces an acquaintance with the science and 
art of essay writing, and executes his work with less 
labor and greater thoroughness. 




SCIENCE AND ART 

—OF— 

ELOCUTION. 

Also Containing Lectures on the Essential Qualifications 

of an Orator and Methods of Teaching Oratory 

and Elocution Used with the Demostheno* 

Websterian Oratorical College 

Class of the V.N.&C.l. 

— BY— 

PROFESSOR DANIEL BMCLH WILLIAMS, I H. PI), 0,, 

Dean of the College Department, Professor of Ancient Languages, 
and Instructor in Pedagogy and Oratory in the V. N. & C. I. 

ALSO 

Author of "Outlines of School Management," "Freedom and 
Progress," "Science, Art, and Methods of Teaching," etc., etc. 

WITH EXTRACTS FROM SKETCHES 

Written by Robert W. Whiting, John Mitchell, Jr., Professors 
D. W. Davis, I. G. Penn, and Robert G. Chissell, 



x'lsasT EaDiwioasT. 



PETERSBURG, VA. 



THE WILLIAMS CORRESPONDENCE SCHOOLS 

OF LdTIN &Hb ELOCUTION. 

Latin and Elocution may be studied at home 
by an approved method. 

SOME; TESTIMONIALS. 

"1 think the nchool is most beneficial to teachers, preachers, 
md others,"— J. G. Scott. 
"I have learned nearly enough to write a Latin letter."— E. 
\ Johnson. 

"I highly commend your correspondence methods of teach- 
ing Latin." — J. A. Jone^. 
"I have made excellent success." — Rev. J. F. Lee. 
"All teachers should hail this exceptional chance to obtain 
the keys of the treasury of this useful study."— J. E. Dodson. 

TERMS MODERATE. 

Address, 

DANIEL B. WILLIAMS, 
V. N. & C. I., - - - ETTRICK, VA 



1 II M. tL I. Clllf I return 

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"V". IMHscellSLXxeo-u-s. 

(10) EMANCIPATION ADDRESS- A standard oration. Price 
25 cents. 

Agents sell these books fast among the people. Liberal 
terms are given to ladies and gentlemen who agent even in 
their spare time. Agents get circulars at 20 cents a hundred. 
Any one not wishing to agent and receiving this circular may 
receive one or all of these works at 20 per cent, discount. Send 
money by money order or registered letter. Postage stamps 
may be sent for sains less than 25 cents. Postal notes for sums 
less than $i. Every agent should have at least 100 circulars. 
Address, 

D. B. WILLIAMS, 

V. N. and C. I., Ettrick, Va. 



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